


Season 6: Alternate Version

by marinaalexis



Category: Pretty Little Liars
Genre: Alternate Ending, Alternate Universe, Drama, Eventual Romance, F/F, F/M, Friendship, Gen, Romance
Language: English
Status: In-Progress
Published: 2020-09-19
Updated: 2020-10-13
Packaged: 2021-03-08 01:40:58
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 6
Words: 46,109
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/26537479
Author URL: https://archiveofourown.org/users/marinaalexis/pseuds/marinaalexis
Summary: From the dollhouse to the unmasking of the mysterious Charles. My own version of PLL's sixth season, in serial, script-style format. {Different "A" reveal and vastly different storylines}
Relationships: Alison DiLaurentis/Emily Fields, Emily Fields/Paige McCullers, Ezra Fitz/Aria Montgomery, Hanna Marin/Caleb Rivers, Mike Montgomery/Mona Vanderwaal, Toby Cavanaugh/Spencer Hastings
Comments: 10
Kudos: 11





	1. 6x01 - "Proud Broken Selves"

SEASON 6, EPISODE 1: "PROUD BROKEN SELVES"

TEASER

FADE IN:

EXT. THE DOLLHOUSE - NIGHT

Thick trees surround the high fence, stretching on for miles on end. SPENCER, ARIA, HANNA, EMILY, and MONA stand back to back in a tight circle. The shock and dismay is still fresh on their faces as they survey their newest predicament.

DISSOLVE TO:

EXT. THE DOLLHOUSE - THE FOLLOWING NIGHT

The girls lay sprawled across the ground. Their spirits have sunk even lower. Hanna finally heaves herself into a sitting position.

HANNA

How long are we going to take this?

SPENCER

If you see another option, I'd love to hear it.

HANNA

I meant literally. How long can we actually take this?

MONA

It takes about three days without water for your body to start shutting down.

EMILY

It's been less than twenty four hours, hasn't it?

ARIA

I'm so hungry, I can't even tell anymore.

Hanna gets to her feet with some effort.

HANNA

Well, I'm sick of sitting around. Doing nothing isn't going to get us out of here.

ARIA

Han, I don't think you're going to find a hidden escape hatch.

HANNA

What if we try to climb it? Who knows, it might not even really be electric!

MONA

We should probably test it before you end up deep frying yourself.

She glances around, then grabs the metal crown that she'd been wearing off of the ground and tosses it at the fence. Sparks explode instantly, and it falls to the ground, charred and black.

EMILY

Yeah, I'm thinking it's really electric.

HANNA

We can dig a hole, then. Underneath it.

SPENCER

What is this, an old-timey prison movie? Anyway, the ground's too hard. We'd barely be able to make a dent with just our hands.

Hanna's had enough. She throws out her arms.

HANNA

So what? We're just supposed to sit here like lame geese until Charles decides to play a different game?

SPENCER

Ducks. The phrase is still ducks.

HANNA

Whatever!

She whips around and glares up at the camera that's perched high above their heads.

HANNA (CONT'D)

You know, we should have tackled your ass when we had the chance!

ARIA

Hanna, maybe you shouldn't...

HANNA

Why not? It's not like this can get any worse!

As if on cue, the floodlights snap off. The girls are bathed in darkness.

SPENCER

Never say never.

DISSOLVE TO:

EXT. THE DOLLHOUSE - DAY

The girls huddle together in the center of the clearing. They are filthy and weak with hunger. Dark circles stand out under their eyes.

EMILY

If you guys could have anything in the world to eat right now, what would it be?

She's trying to lighten the mood, but no one bites.

HANNA

God, Emily, can we not talk about food right now?

EMILY

No, it actually helps. I used to do this to tide myself over before swim meets.

SPENCER

I'd have a steak from the Grille. The biggest, juiciest one I could get.

MONA

I'm never getting a salad without dressing again.

HANNA

Okay, Em, you were right. It's like I can taste it.

The girls all chuckle - minus Aria. She pulls her knees tighter to her chest. Panic is clear on her face. Spencer takes notice.

SPENCER

Aria? You okay?

ARIA

No. I don't think I can take this anymore.

Mona shifts closer and puts her hand on Aria's shoulder.

MONA

Aria. Look at me. Yes, you can. We all can. And we have to.

Her words are so sincere that Aria can't help but nod, although uncertainly.

SPENCER

Remember what I said in the prison van: We have each other, no matter what.

EMILY

As long as we stick together, everything will be okay.

The words do little to comfort anyone. This goes way beyond a few threatening text messages, and that distinction hangs uncomfortably in the air.

With a loud CREAK, the door to the bunker swings back open. The girls stare, frozen in place.

HANNA

Do we...go back in?

SPENCER

Unless we want to starve out here, I don't think we have much of a choice.

ARIA

Honestly, at this point, that kind of sounds more appealing.

HANNA

What do you think, Mona?

MONA

I don't know. It's never left me outside like this before.

The girls slowly get to their feet and huddle together in front of the gaping black hole that leads back into their own version of hell. No one is sure what move to make.

Footsteps begin to echo up the narrow staircase. Everyone stiffens.

EMILY

Someone's coming.

SPENCER

Get back, get back.

She moves backward, pulling the others along with her. Slowly, CHARLES emerges from the bunker, completely concealed by the usual hoodie and mask. He holds a smoke gun in his hand.

The girls grab at each other, screaming as, without a word, Charles lifts the gun and fires. Smoke fills the clearing, and the PLLs' shrieks are the last things we hear as we -

FADE TO BLACK

End of Teaser.

ACT ONE

A title card displays ONE WEEK LATER.

EXT. DILAURENTIS HOUSE - DAY

A dark car pulls into the driveway. ALISON and KENNETH emerge. Kenneth looks back and forth anxiously as he heads for the house. Alison follows without a word. Her face is free of makeup and her hair is tied back in a messy ponytail, but her normal clothes give her a first taste of freedom.

Alison and Kenneth walk onto the FRONT PORCH to find CALEB, EZRA, and TOBY waiting by the door. Their arms are crossed and their faces are grim.

KENNETH

What's going on here?

EZRA

We just thought we'd stop by and welcome Alison home. Hope that's okay.

TOBY

I told them she was being released today.

Kenneth puts his arm around Alison's shoulders protectively.

KENNETH

What Alison needs is to get some rest.

He attempts to guide her toward the door. She pulls away.

ALISON

Dad, it's okay. Just give us a minute.

He hesitates, obviously reluctant, but relents and goes inside. The boys turn back to Alison.

CALEB

How's it feel to be a free woman?

ALISON

I fantasized about getting out of that cell since the day of the verdict. I just never thought it would happen like this.

Caleb, Toby, and Ezra exchange worried glances.

ALISON (CONT'D)

So, any news?

CALEB

No. Nothing.

EZRA

Three weeks and no leads after they cleared that stupid apple farm.

CALEB

The police are looking for Andrew, but he's gone completely off the grid.

ALISON

So it really is Andrew?

TOBY

His family owns the farm where Tanner found the surveillance footage of the girls.

Alison looks unconvinced, but Caleb plows ahead.

CALEB

We're not going to sit around and do nothing until they find him.

EZRA

Right. Every second that passes, Aria and the others could be in even more danger.

Alison moves toward the door and checks to make sure her father isn't lurking nearby. She looks intrigued.

ALISON

Let me guess. You have a plan?

CALEB

Yeah. But we need your help.

TOBY

It'll mean taking a big risk. But it might be the only way to lure Andrew to us.

He, Caleb, and Ezra stare at Alison, waiting for an answer. Alison glances between them. Whatever this plan is, she knows that it's almost certainly going to be dangerous. She takes a deep breath. Her expression hardens with resolve.

ALISON

Let's hear it.

INT. THE DOLLHOUSE - ARIA'S ROOM - EVENING

In the pitch blackness, a mechanical voice booms out.

AUTOMATED VOICE

Please follow the lighted pathway.

Aria's eyes snap open. The replica of her bedroom blurs before slowly coming into view. She sits up in the bed. The prom dress has been replaced by a leather jacket, black and red shirt, and skinny jeans. There are chunky pink streaks highlighting her hair.

Aria is disoriented. She heaves herself out of bed just as the intercom crackles to life again -

AUTOMATED VOICE

Please follow the lighted pathway.

With a click, her door unlocks for the first time in a week. Aria is unsure, but is so desperate to finally get out of her room that she exits quickly.

INT. THE DOLLHOUSE - HALLWAY - EVENING

Aria exits her room to find Spencer, Hanna, and Emily huddled together. Aria is shocked by the sight of them.

Spencer is dressed in a sweater vest and khakis, Hanna in a plain shirt multiple sizes too large for her, and Emily in a tracksuit with the "Rosewood Sharks" insignia on the front.

ARIA

Hey.

EMILY

Aria. Your hair, too?

What about her hair? Aria reaches for it.

ARIA

My hair?

She pulls a clump in front of her face and gasps at the sight of the bright pink streaks.

ARIA (CONT'D)

Oh my God. "A" must have dyed my hair when I was knocked out.

HANNA

Yeah, and he changed all of our clothes, too.

EMILY

What do you think this means?

SPENCER

We look just like we did the summer Alison went missing.

Hanna pulls disgustedly at her baggy t-shirt.

HANNA

Ugh. That is a time I did not want to revisit.

AUTOMATED VOICE

Please follow the lighted pathway.

ARIA

What now?

She starts to move down the hallway. Spencer stops her.

SPENCER

Wait. Have you guys been unconscious since "A" gassed us outside?

An uncomfortable silence passes between the girls. Everyone averts their eyes. The question is answered, but no one is willing to say more.

HANNA

I'm not talking about this right now.

EMILY

Yeah, or ever.

SPENCER

(quietly)

We're going to have to talk about it sometime.

Another long moment of tense silence leaves us wondering what possibly could have been so bad.

ARIA

Come on, let's just get this over with.

The girls walk cautiously to the door at the very end of the hallway and pull it open.

INT. THE DOLLHOUSE - GREAT ROOM - EVENING

The room that had previously been decorated as Alison's living room has undergone a transformation. It now resembles Spencer's barn down to a T. The girls enter.

SPENCER

What is this?

HANNA

Okay. "A" might be a dude, but I still swear they have super powers.

EMILY

Our clothes, the barn...

ARIA

Hm, I'm thinking there's a theme here.

With a sudden CRACK, the lights cut out. The PLLs gasp and grab at each other as the lights flicker feebly on, then off again.

HANNA

What is that?

SPENCER

Maybe the electricity down here's shorting out.

The door begins to CREAK open.

ARIA

Or not. Holy crap.

The lights suddenly snap back on to reveal Mona standing in the doorway.

MONA

Gotcha.

She's dressed once again in the infamous yellow shirt, and wears a nervous smile. The girls fall backward.

HANNA

Jesus, Mona.

MONA

How many times do I have to tell you not to call me that, Hanna? Is your head as thick as the rest of you?

Hanna's mouth falls open. Mona walks over to them, shooting her a blink-and-you-miss-it apologetic look.

MONA (CONT'D)

Sorry I'm late. But I had the perfect idea for what we can do tonight.

The PLLs watch as she walks around the room, lighting candles on the floor and table. Then she switches off the overhead light.

SPENCER

What are you doing?

MONA

All of you sit down. I'm going to hypnotize you.

EMILY

Wait. Didn't Ali say something about wanting to try hypnosis the night of the...

ALL FOUR GIRLS

Sleepover.

ARIA

Charles is recreating the night Alison went missing.

MONA

What are you waiting for? Sit.

They don't have a choice. They slowly sink down onto the cement floor - the only feature in the room that doesn't replicate the barn. Emily leans over to whisper to Spencer -

EMILY

Ali didn't hypnotize us that night, though, remember? We all fell asleep before she could.

SPENCER

Right, because she drugged us.

They exchange a look - is that part of the night going to be replicated as well?

MONA

Close your eyes while I count down from one hundred. When I'm finished, you'll all be under my spell.

The girls obey with obvious reluctance. Aria reaches to grasp Hanna's hand as Mona walks in a slow circle around them, chanting numbers slowly down from one hundred.

End of Act One.

ACT TWO

INT. THE DOLLHOUSE - GREAT ROOM - EVENING

The room is silent. The PLLs sit with their eyes closed. Spencer begins to shift, then opens her eyes and looks around. Mona is gone.

SPENCER

You guys.

Aria, Hanna, and Emily open their eyes as well.

HANNA

Did anything happen? I don't feel hypnotized.

SPENCER

Mona's gone.

The girls gaze around the otherwise unoccupied room. She's right - Mona is nowhere to be found. The girls are stunned.

ARIA

How is that possible? Didn't she just stop counting, like, thirty seconds ago?

HANNA

Did everyone still have their eyes closed?

EMILY

I was too afraid to open them before she told us to.

ARIA

Where did she go?

SPENCER

I have to say, I'm still not totally sure she's not in on this whole thing.

The girls go silent, considering this, until -

FOUR CHIMES sound.

EMILY

Four chimes. What does four chimes mean?

SPENCER

It's game time.

They slowly rise and proceed toward the door, almost mechanically. By this point, they know it's not a suggestion.

INT. THE DOLLHOUSE - GAME ROOM - EVENING

The PLLs file into the room with caution. They look around, but the room appears to be unchanged since the last time they were there.

Hanna, Aria, and Emily stare around in obvious confusion, but Spencer's eyes have locked onto something. She slowly crosses the room to the large table. The others notice.

ARIA

What is it?

SPENCER

Look.

She reaches out and picks up a crochet doll that is sitting alone in the center of the table. We ZOOM IN to see that it has scruffy brown hair and is wearing jeans and a black leather jacket.

EMILY

Is that supposed to be...

SPENCER

Toby.

She's so horrified she can't even express herself. Hanna does so for her.

HANNA

Does this mean Charles is going to bring Toby down here next?

SPENCER

No. No, I won't let that happen.

ARIA

Spence, I'm not sure it's up to you.

Emily gently takes the doll from Spencer. She weighs it in her hands.

EMILY

Why is it so heavy?

She turns it over in her hands and gasps. The girls crowd closer. The back of the doll's head has been replaced by a tiny metal box. A pull cord dangles from it. Emily pulls it.

TOBY DOLL

Go to the place where I was caught, for a crime I did not commit. On the night where all the world, inside and out, was lit.

ARIA

What is this, some kind of riddle?

SPENCER

More like a clue. We have to figure out what place they're talking about and go there.

Hanna gestures to the space around them.

HANNA

It's not like we have many options. We could just tear this whole place apart!

EMILY

I don't know if that's such a good idea.

Her eyes are on the security camera, its red light blinking down at them like an eye. The other girls follow her gaze.

SPENCER

Okay. A crime, at night, when the world was lit up. It's talking about something specific.

ARIA

Lit up, like a fire? The fire at Thornhill?

HANNA

Yeah, didn't "A" try and frame Toby for that?

Spencer looks dubious. There's a glint in her eye that hasn't been seen since before the kidnapping. She's in her element now.

SPENCER

Key word there is "try." He didn't actually get caught.

EMILY

But the riddle talked about the whole world being lit up. That has to be referring to fire, right?

Spencer's staring straight ahead, lost in thought.

SPENCER

There's more than one kind of fire.

She snaps out of it and looks around at her friends. We can tell even before she speaks that she's cracked it.

SPENCER (CONT'D)

The night of The Jenna Thing. The garage was on fire, but it was also the Fourth of July. The sky was lit up...with fireworks.

ARIA

Oh my god, Em, it must be your room. That's where Ali said she saw Toby spying on us.

The girls drop the Toby doll and run out of the room -

INT. THE DOLLHOUSE - EMILY'S BEDROOM - EVENING

The PLLs rush into the room. They begin looking around.

HANNA

What are we looking for?

SPENCER

Wait a minute.

She crosses the room to the window and pushes aside a few empty picture frames. Another doll sits behind them, leaning against the window.

EMILY

Another doll?

ARIA

What is this, some kind of twisted scavenger hunt?

SPENCER

Yeah, I think it is.

HANNA

Don't scavenger hunts have a prize at the end? What do we get if we win?

They exchange unsettled looks. Spencer's face darkens with realization.

SPENCER

We get Mona back.

INT. DILAURENTIS HOUSE - LIVING ROOM - NIGHT

Kenneth pulls aside the curtain and peeks out the front window. A police cruiser sits at the curb, but he doesn't look satisfied.

Alison ENTERS, and notices him. She sighs.

ALISON

Dad, stop worrying. Tanner said the police will be out there all night.

KENNETH

There's just one cruiser. I'm not sure if that's enough.

ALISON

You're being paranoid. I'm fine.

KENNETH

I saw the things that Campbell boy wrote about you in his journal. As long as he's still out there, you're not safe.

(getting emotional)

If something happens to you...

ALISON

Please, I can't have this conversation again. I was just coming to ask you if you wanted tea. I just made some.

Kenneth looks toward the window again.

KENNETH

(distracted)

Sure.

Alison EXITS into the KITCHEN. She pours hot water from a pot into two mugs and adds a tea bag to each. Then she glances furtively over her shoulder.

When she's sure her father isn't coming, she swiftly reaches into her pocket and pulls out two small, white pills. She deftly crushes them under her heel, sprinkles them into one of the mugs, and stirs with a spoon until the liquid is clear again.

Alison wipes her hands together to remove the remainders of the pills. She smiles and picks up the two mugs.

INT./EXT. HASTINGS HOUSE - EZRA'S CAR - NIGHT

Caleb and Ezra sit side by side. Their faces are tight with tension.

CALEB

Are you sure that cop can't see us from here?

EZRA

We should be just out of view. I mean, if we can't see him, he shouldn't be able to see us.

Caleb isn't convinced, but suddenly spots something out the side window.

CALEB

Here comes Alison.

A moment later, the back door of the car opens and Alison slides inside. She is slightly out of breath.

EZRA

Good. You made it.

ALISON

My dad's out cold, and I cut through the Hastings' backyard. There's no way anyone saw me.

Her face is determined, but the waver in her voice gives away her nerves. Ezra eases the car into drive and slowly pulls away from the curb.

CALEB

Look, Ali, you don't have to do this. We can think of something else -

ALISON

No. It's like you said before. This is the only shot we have at luring out Andrew.

CALEB

You're taking a big risk.

ALISON

(firmly)

I owe this to them.

EZRA

We have Toby on stand-by in case anything goes wrong.

CALEB

And you won't really be alone. I brought you this. It'll let us keep track of your every move. We'll never be far behind.

He produces a small tracking chip from his pocket and hands it back to her. She palms it with intrigue.

ALISON

Wow, high tech. Where's the best place to put it?

CALEB

Somewhere it can't be easily removed.

Alison ponders this for a moment, then slips the chip under her shirt and hooks it to the strap of her bra. Seeing this, Caleb awkwardly twists back around to face front.

Ezra pulls the car to the side of the road. We see THICK WOODS outside.

EZRA

The Kissing Rock shouldn't be far from here.

CALEB

You ready?

Alison takes a deep, steadying breath. She's ready. She has to be. She pulls out her phone and finds the most recent text she's received from "A." With shaking hands, she composes a response.

CLOSE UP on text: _"I know I'm the one you really want. Please don't hurt my friends. You can have me. I'll be at the Kissing Rock. Alone."_

INT. THE DOLLHOUSE - MONA'S/ALISON'S ROOM - NIGHT

The PLLs barge into the room as one. They instantly spread apart, searching, as Spencer repeats the next clue. In her hand is a crochet doll that resembles Melissa:

SPENCER

"Filled with fury that night, to this room I would go, asked if I wanted her dead, my answer wouldn't have been no." Melissa barged in on Ian, Jenna, and Garrett in Ali's room. It has to be here.

EMILY

How much time do you think we have left?

HANNA

Wait, this is timed?

EMILY

It's "A." Why wouldn't it be?

ARIA

Where did Ian have that video camera hidden?

Spencer rushes across the room to a mostly empty bookshelf along the far wall.

SPENCER

It was right here, hidden with a bunch of trinkets.

HANNA

Well, I don't see anything.

Aria bends down and slides her hand against the floor, in the several inches of space underneath the shelf. She stands, holding another doll in her hand. This one resembles Ezra. Aria pulls the string.

EZRA DOLL

This book gave a big clue to our torrid affair. Better find it soon, before she runs out of air.

The girls are horrified.

HANNA

"Runs out of air?"

INT. THE DOLLHOUSE - HOLE - NIGHT

It is a small, dark room. An encompassing feeling of dread fills the air as we PAN OVER to a large hole in the dirt floor. It is rectangular - grave-shaped, about fifteen feet deep.

We look inside to see Mona standing alone. She is dirty and terrified, arms wrapped around herself.

MONA

Charles? Charles, please. Please, let me out. I'll do better. I promise. Just please don't leave me here!

In her desperation to reach Charles, she does not notice the dirt that has started to spill into the hole from a small tube that is attached to one of the hole's walls.

She does not notice that she is about to be buried alive.

End of Act Two.

ACT THREE

EXT. ROSEWOOD FOREST - KISSING ROCK - NIGHT

Alison approaches the rock slowly. It is nearly pitch black in the thick woods. This is scarier than she was expecting.

The infamous yellow shirt has been spread out on the top of the rock. A note beside it reads, _"Put this on and start walking."_ Alison hesitates, then follows the instructions. As she pulls her shirt over her head, the tracking chip dislodges from her bra and falls into a clump of leaves. Alison doesn't notice. She slips on the yellow shirt and begins walking cautiously deeper into the forest.

INT./EXT. EZRA'S CAR - NIGHT

Caleb is watching a map on his phone as Ezra drives. A blinking red light indicates Alison's tracking chip.

CALEB

She stopped. Looks like she made it to the rock.

EZRA

Great. So we go in after her?

CALEB

No, let's give her some time. If "A" sees us it could ruin everything.

Ezra isn't so sure about this. He glances uneasily toward the woods.

EZRA

Well, you know what else could ruin everything? If Ali gets snatched before we even get close enough to see who it is.

CALEB

As long as she's not moving, we don't have anything to worry about. The second the map shows movement, we'll head in.

They both nod in agreement, unaware that the tracking chip has been abandoned by the Kissing Rock.

EXT. ROSEWOOD FOREST - NIGHT

Alison walks slowly through the forest, stepping carefully over leaves and around trees. Her anxiety is visibly increasing by the second as she moves further away from town - from safety.

As she walks, we PAN UP to a small security camera perched in a tree. It swivels to follow her movements as she passes it.

INT. THE DOLLHOUSE - ARIA'S ROOM - NIGHT

The PLLs are in the process of tearing the room apart. Spencer and Emily have stripped the bed. Aria and Hanna are digging through the fake books on the shelf.

HANNA

Are you sure you know which book we're supposed to be looking for? It sounds more like the name of a town to me.

ARIA

"Winesburg, Ohio." It's a book of short stories. Ezra gave it to me right after we started dating.

EMILY

Aria, I don't think any of the books in here are actually real.

SPENCER

Think harder. Is there anything else the riddle could be referring to?

ARIA

A big clue to our affair? He wrote an inscription to me, that has to be it.

(suddenly realizing)

Unless - no, it can't be -

HANNA

What?

ARIA

(to herself)

It was from so long ago.

SPENCER

Aria, we don't exactly have a lot of time here.

EMILY

Anyway, I don't think anything goes too far back for "A."

ARIA

"B-26." The poem Ezra wrote about our first meeting, it was published in a book. And I kept it...

She crosses the room and grabs a decorative plastic tray from the dresser. A slim poetry book sits underneath.

ARIA (CONT'D)'

Got it.

The girls crowd around her.

SPENCER

Find the page with Ezra's poem on it.

Aria flips through the book, until she arrives at "B-26." There is a sticky note attached to it which reads, _"When the original comes, the fake has to go. But are you too late? Take three lefts and you'll know. -A"_

EMILY

The original?

SPENCER

Alison. Charles must be getting ready to bring the real Ali here.

HANNA

And Mona's the fake one.

ARIA

Three lefts. Come on.

They abandon the book and run for the door, yelling Mona's name as they EXIT.

EXT. ROSEWOOD FOREST - NIGHT

Alison continues walking cautiously. She's been walking for a long time now and is worried, glancing around furtively, wondering if she's going the right way. She feels utterly alone.

There is a dark mound partially covered by leaves ahead of her. Her foot connects with it. Alarmed, she leans down to get a better look - and SCREAMS! It pierces the air.

INT./EXT. EZRA'S CAR - NIGHT

Caleb and Ezra are getting nervous. Ezra checks the time.

EZRA

It's been over twenty minutes.

CALEB

I haven't taken my eyes off of the map. She hasn't moved.

EZRA

What if Andrew didn't get her text?

CALEB

"A" sees everything. And there's no way he doesn't want to get his hands on Ali.

Ezra is getting increasingly fidgety.

EZRA

I have a bad feeling about this. I say we go in after her.

CALEB

I don't know. What if Andrew's just about to make a move? If he sees us, it could blow everything.

EZRA

Or what if something's gone wrong and Ali's already in danger?

Caleb is obviously torn. He wants to save Hanna more than anything, but his conscience finally gets the best of him.

CALEB

We'll head to the Kissing Rock. As quietly as we can.

With new resolve, they get out of the car and shut the doors almost silently behind them.

INT. THE DOLLHOUSE - HOLE - NIGHT

The PLLs shouts and footsteps echo into the room. Dirt is pouring steadily into the hole. Mona is nearly unconscious and almost completely submerged. She can barely raise her eyes to look toward the voices.

The girls burst into the room.

EMILY

Here, over here!

They race to the edge of the hole and peer down. They are horrified.

HANNA

Oh my God, Mona!

SPENCER

Charles is trying to bury her alive.

ARIA

Hurry, where's something we can use to pull her up?

They scour the area and come up empty. Panic is quickly setting in.

EMILY

We have to do something!

Mona stirs and is able to push herself a few inches out of the dirt. She is weak with fatigue.

MONA

Help me, please...

HANNA

What are we gonna do?!

SPENCER

Hang on, we'll get you out, we -

(a sudden idea)

I know. I'll be right back.

She bolts from the room. The other PLLs stare after her, shocked.

ARIA

Spencer!

EXT. ROSEWOOD FOREST - KISSING ROCK - NIGHT

Caleb and Ezra peer through the bushes just several feet away from the rock. Though they think they're being quiet, their breathing is labored and anxious.

EZRA

Do you see her?

CALEB

No.

With no sight of Alison, he bursts through the bush and into the clearing that surrounds the rock. Alison is nowhere to be seen.

CALEB (CONT'D)

No, according to the tracker we should be right on top of her.

EZRA

It must have stopped working.

Caleb is unsettled. He attempts to fiddle with the map on his phone, to no avail.

CALEB

I tested it a million times. But you're right, it must have malfunctioned.

EZRA

Or maybe not.

He's staring intently at something nestled in the leaves beneath them. He reaches out and picks up the tracking device. He and Caleb exchange a look of shock.

CALEB

Why would she leave it here?

EZRA

I'm willing to bet it wasn't her choice.

CALEB

She could be anywhere by now.

They're at a total loss as the gravity of the situation begins to sink in. All hope seems lost until Caleb happens to catch sight of some trampled-down leaves leading deeper into the forest.

EZRA

I say we call Toby. Get the police involved.

CALEB

Not yet.

He walks over and leans down to examine the squashed leaves.

CALEB (CONT'D)

Wait, look at this.

Ezra joins him.

EZRA

What?

CALEB

The leaves are all trampled down here, like -

EZRA

Footsteps. She must have gone this way.

CALEB

We have to go after her.

They exchange one last look of trepidation, then plunge into the woods after Alison.

INT. THE DOLLHOUSE - HOLE - NIGHT

Aria, Hanna, and Emily are crowded around the hole. They are growing more panicky by the second and trying hard not to show it.

HANNA

Mona, hold on, okay, we're gonna get you out.

Mona is in tears. She's trying desperately to push the dirt off of herself, but it's filling the hole too quickly.

MONA

Oh my God, please help me - please -

Spencer ENTERS frantically. She's dragging one of the long, thin curtains from the replica of her bedroom.

EMILY

What's that for?

SPENCER

We'll lower it down, use it as a rope to pull her up. Come on, help me.

ARIA

Spence, that's genius.

The girls gather around and begin lowering the curtain into the hole, yelling out encouragement as they do so.

EXT. ROSEWOOD FOREST - NIGHT

Alison is full-on panicking. She is near hyperventilation as she paces back and forth between two trees.

ALISON

Oh my God, oh my God.

A loud rustle in the nearby brush catches her attention. She freezes. Terror crosses her face. She'd completely forgotten about the reason she came in here in the first place.

ALISON (CONT'D)

Hello?

The bushes rustle again, and then Caleb and Ezra emerge, out of breath. Their faces relax with relief when they spot Alison.

ALISON (CONT'D)

You guys.

EZRA

Oh, thank God. We thought you'd been taken by "A."

Caleb notices the stricken expression on her face.

CALEB

Ali, what's wrong?

ALISON

You guys need to see something.

She takes a deep breath and leads them over to the mound several feet away. In the darkness, it is just barely visible.

EZRA

What is that?

ALISON

It's...

She can't continue. She's about to be sick. Ezra and Caleb instantly know that something is very wrong. They move slowly toward the shape. Caleb pulls a flashlight out of his pocket and shines it directly on -

The cold body of ANDREW CAMPBELL. His face is drained of color, his eyes vacant. The front of his shirt is drenched with blood. He's clearly been here for a few hours, but the death appears recent.

CALEB

Oh, God!

He and Ezra recoil in horror.

EZRA

What the hell?

They turn back to Alison, as if for answers. She has none, aside from the obvious.

ALISON

Someone killed Andrew.

EZRA

What does this mean?

ALISON

(with confidence)

It means he can't be "A."

End of Act Three.

ACT FOUR

INT. THE DOLLHOUSE - HOLE - NIGHT

The PLLs have just finished pulling Mona out of the hole. Still shaking, she can barely stand, so they hold her up as they help brush dirt off of her.

HANNA

Okay, that was way too close.

ARIA

Are you okay?

MONA

No.

(with more confidence)

But I will be.

EMILY

Now how are we going to -

Before she can finish, the dim lights in the room cut out with a SNAP. The girls jump. They're horrified, sure that Charles is about to swoop in, until -

MONA

It's the nightly power outage. This is the first time I haven't been in my room when it happens.

SPENCER

I'm surprised Charles would let this happen.

Mona seems to gain some of her strength back as she looks toward the entrance to the room.

MONA

So am I. Because you know what's right next to this room?

She doesn't wait for an answer.

MONA (CONT'D)

The vault.

HANNA

It's unlocked?

MONA

All of the doors down here unlock during these three minutes. We don't have enough time to get to the exit. But we can make it into the vault.

SPENCER

The rest of you haven't seen the video of Charles. Come on.

She and Hanna move to either side of Mona to help her, and they move as quickly as they can toward the exit.

INT. THE DOLLHOUSE - CHARLES' VAULT - NIGHT

The girls rush into the room. Spencer pulls the door shut behind them. Emily, Aria, and Hanna gaze around at the baby photos and memorabilia with wide-eyed, stunned expressions.

HANNA

What is all this stuff?

Emily picks up a photograph of a blond-haired boy. She studies it intently.

EMILY

Is this Charles?

SPENCER

Watch.

She starts the same video that we saw in the previous episode. The girls gather around, watching, mesmerized, as the film plays.

JESSICA

You want to say good-night to your sister? Give her a little kiss? What a good boy you are. Oh, good boys, good boys.

The PLLs are shaken by what they're seeing as Jessica beams into the camera, cradling what must be baby Alison.

ARIA

Charles is a DiLaurentis.

MONA

More than that. It looks like he could be Jason's twin.

Everyone looks at Spencer. The unspoken words hang uncomfortably in the air. If Charles is Jason's twin brother, that means he's Spencer's half-sibling, too.

SPENCER

You guys see what this is. A shrine. For Charles.

HANNA

Yeah, and it's creepy.

ARIA

Agreed. Being in here is making my skin crawl.

With a WHIR of electricity, the generator comes back on. The three minutes is over.

MONA

We're not in our rooms, but the siren isn't going off.

Emily looks toward the surveillance camera near the ceiling.

EMILY

Do you think he knows we're in here? He could be watching us right now.

SPENCER

I hope he is.

Suddenly, she snatches the film strip and holds it in front of the projector. The bulb instantly causes the strip to catch fire. The image of Jessica and the children melts before their eyes as the strip sparks with flames.

HANNA

Spencer, what the hell?

ARIA

What are you doing?

They're horrified, but Spencer walks purposefully toward the camera. She holds the flaming film strip above her head.

SPENCER

Say goodbye to your precious memories.

With a spiteful look at the camera, she flings the film into a wooden crib near the wall. It immediately bursts into flames. The other girls scream.

MONA

Are you insane?! The generator's back on! We're locked in here!

SPENCER

Maybe not.

She points upward. A tiny sprinkler is attached to the ceiling.

SPENCER (CONT'D)

See that? There's a sprinkler system down here. All Charles has to do is set it off, and I'm betting it unlocks all the doors, too.

ARIA

That seems like a risky bet.

SPENCER

Come on. The more we burn, the harder it'll be for him to resist stopping us.

The girls quickly shake off the rest of their reservations and begin grabbing photographs, toys, and other personal items from the room and hurling them senselessly into the fire, which grows larger by the second.

INT. THE DOLLHOUSE - CONTROL ROOM - NIGHT

"A" sits in front of a wall of monitors. Their face is concealed by a mask and their hands are covered by black gloves. They turn to watch the PLLs destroy the vault on one screen. Then they swivel to watch as, on another, Alison, Ezra, and Caleb crowd around Andrew's body, "A's" latest victim.

They click the mouse, zooming in and out of both screens. Their head swivels back and forth between the monitors. The screens blur. They're growing frantic, panicked. It is the most genuine display of emotion that "A" has ever shown.

INT. THE DOLLHOUSE - CHARLES' VAULT - NIGHT

The room is rapidly filling with smoke. The fire has started to climb one of the walls. The PLLs continue to throw the room's artifacts into the blaze. Their movements are rushed and almost frenzied.

ARIA

It's not working! He must not be watching!

SPENCER

Keep going!

MONA

It's spreading too fast!

HANNA

God, I can't breathe.

EMILY

You guys, what are we gonna do if this doesn't work?

That stops everyone in their tracks. Even Spencer hadn't let herself consider that. They back away from the fire, huddling against the far wall.

ARIA

No offense, Spence, but this was a really, really bad idea.

SPENCER

No.

Through the fear, her face hardens with resolve.

SPENCER (CONT'D)

We can't give up now. We're going to force Charles to let us go, or we're going to die trying.

End of Act Four.

ACT FIVE

INT. ROSEWOOD POLICE STATION - NIGHT

Toby is huddled over his desk, flipping through a notebook labeled by evidence as Andrew Campbell's diary. He's so engrossed in what he's reading that he's oblivious to his phone lighting up with a text from Caleb.

CLOSE UP on text: _"You need to meet us. NOW."_

LIEUTENANT TANNER ENTERS without knocking.

TANNER

Cavanaugh.

Toby doesn't even look up from the journal.

TOBY

Have you read this? He's more twisted than we thought.

TANNER

I have. But you need to put that down.

TOBY

Why?

TANNER

A call just came in from someone who lives on the outskirts of the woods. They woke up to what they thought was the smell of smoke.

Toby drops the journal and straightens. He tries to hide a fresh jolt of fear as he remembers just who is currently wandering in Rosewood's forest.

TOBY

The woods?

TANNER

More likely than not, just some campers. We're sending a few officers to investigate before we call for the fire department. I want you to check out the southwest quadrant.

TOBY

Yes, ma'am.

Fear flickers across his face, undisguised this time. He glances toward his cell phone, but Tanner clears her throat sharply.

TANNER

Now, Officer Cavanaugh.

He gives her a thin smile and a nod, but as soon as he steps around her toward the door, the smile fades into a look of deep concern.

INT. THE DOLLHOUSE - CONTROL ROOM - NIGHT

"A" watches with increasing desperation as their prized possessions go up in flames on one screen, and as Alison, Ezra, and Caleb continue to fret over Andrew's body on the other. Their sense of panic grows. After a moment of indecisiveness, they slam their hands furiously on the desk and stand.

INT. THE DOLLHOUSE - CHARLES' VAULT - NIGHT

As the girls continue hurling items into the inferno, which now has them backed against the door, the sprinklers suddenly click on. The fire alarm blares, and water rains over them. It's the closest thing to miracle that has happened down here.

HANNA

Holy crap, it worked!

ARIA

Let's get the hell out of here.

As the fire slowly begins to extinguish, the girls flee from the room.

EXT. ROSEWOOD FOREST - NIGHT

Toby walks cautiously through the woods, his flashlight illuminating the ground in front of him. He stops and sniffs, then wrinkles his nose. The scent of smoke is still in the air, but he smells something more than that - something putrid.

Through the low-hanging branches ahead of him, he begins to make out several shapes shifting. Human shapes. Toby braces himself and breaks through the leaves.

TOBY

Freeze!

Alison, Caleb, and Ezra whip around, their hands in the air. At the sight of each other, everyone visibly relaxes.

CALEB

Good, you got my text.

Toby notices the waver in his voice, and the pale looks on all of their faces. Something is obviously wrong.

TOBY

What are you talking about?

CALEB

You mean you didn't?

TOBY

No, Tanner sent me out here to investigate some kind of fire. I've been looking into Andrew all night. You guys haven't seen him yet?

Alison looks like she's about to pass out.

ALISON

Oh, we have.

TOBY

What? What happened?

EZRA

I think you'd better take a look.

The three of them step aside, and Toby's flashlight lands directly on Andrew's body. He reels back, his nose scrunching again as the overpowering smell hits him once more. The smoky smell in the air is forgotten by everyone.

TOBY

No. There's no way.

ALISON

Someone killed him, Toby. We think he was set up. For everything.

TOBY

(struggling to understand)

But that journal -

EZRA

Must have been planted by the real "A."

CALEB

We have to get the body out of here.

Toby's officer side comes to life again, taking over. He kneels down and studies the body with a surprising amount of composure.

TOBY

No. We can't get involved with this. You guys need to get out of here.

EZRA

What?

ALISON

You're serious.

TOBY

Andrew's the number one suspect in the girls' disappearance. If Tanner finds out that the three of you were anywhere near his body tonight, she'll twist it to mean that you killed him to save them.

ALISON

And that would be a bad thing?

TOBY

Tanner won't see it that way. We all know she fits everything into her own narrative. You guys leave. I'm supposed to be here anyway, I'll call this in.

EZRA

Toby, we can't just leave.

Alison moves toward him, imploringly.

ALISON

Spencer and the others are still out there, in danger. We're their only hope.

Toby comes dangerously close to cracking. But the logical side of him takes over just in time.

TOBY

I know. And I want Spencer back with me more than anything. But you won't be able to help at all if you're back in jail.

A beat passes as everyone considers this. He's right - this scene is sketchy at best.

CALEB

You're right. We'll head back.

He and Ezra reluctantly start walking, but Alison hesitates, glancing deeper into the woods. The faint smell of smoke still hangs in the air.

INT. THE DOLLHOUSE - HALLWAY - NIGHT

The PLLs race down the hallway, still helping Mona along. The fire alarm blares at an almost unbearable volume. The floor has been soaked by the sprinklers.

EMILY

Come on, come on.

She reaches the ladder first and begins climbing, with Aria on her heels. Spencer, Hanna, and Mona stand at the bottom, looking after them, both petrified and hopeful.

And then it happens. With a BANG, the doors burst open. The dim light of the moon feels like the blindingly bright sun.

EXT. THE DOLLHOUSE - NIGHT

Emily and Aria dive into the open air. Emily stumbles, and Aria is moving so quickly in her haste to escape that she lands on her hands and knees in the grass. Spencer, Mona, and Hanna aren't far behind.

There is gasping for breath and a bit of hysterical laughter as the girls collapse outside the doors. They are free, and for just one wonderful moment, there is no danger, no torture, no "A."

ARIA

We're out. We're really out.

MONA

I can't believe that worked.

Spencer is the first to her feet. Her eyes are on the wide-open doors to the bunker.

SPENCER

We're not out of the woods yet. Literally. He could be right behind us, we have to move.

HANNA

Move? Spencer, we have no idea where the hell we are. We might not even be in Rosewood.

EMILY

No, Spencer's right. The longer we stay here the bigger the chance Charles can just grab us or gas us again.

Mona gazes around at their surroundings.

MONA

These trees look like mostly hardwoods. I bet we're not far from Rosewood.

ARIA

Okay, so we're lost in the woods maybe near town but maybe not. We have no food, and we could be kidnapped again any minute. What do we do now?

Spencer straightens with resolve. She reaches for Aria's hand on one side and Emily's on the other.

SPENCER

Now we find our way home. Together.

Slowly, the girls begin to share her determination. Emily reaches for Hanna's hand and Aria for Mona's. The five of them squeeze hands briefly, an inspiring moment of solidarity and newfound hope, as we -

FADE TO BLACK.

End of Act Five.


	2. 6x02 - A Long Road Ahead

**Summary for the Chapter:**

> On the run from Charles, the PLLs struggle to find their way home. A recently uncovered memory gives Alison new questions about her past. The girls' families grow desperate for answers as time passes.

SEASON 6, EPISODE 2: "A LONG ROAD AHEAD"

TEASER

FADE IN:

EXT. ROSEWOOD POLICE STATION - DAY

The clear blue sky, chirping birds, and bright grass all indicate a beautiful day. It is a jarring, direct contrast to the dark feeling settling over Rosewood.

A sharp, well-dressed REPORTER stands in front of a TV camera, speaking brusquely into the microphone in her hand.

REPORTER

The investigation into the alleged kidnappings of five Rosewood teens took another unexpected turn just hours ago, when the body of Andrew Campbell was discovered in the woods bordering town. Until now, Campbell was the number one suspect in the abductions, but his death has spurred a new question in the investigation: Who could have done this, and why?

INT. ROSEWOOD POLICE STATION - CONFERENCE ROOM - DAY

TOBY, TANNER, BARRY, and several other OFFICERS sit around a large, rectangular table. Files and pieces of bagged evidence are strewn in front of them. Everyone looks tired and grim - it was a long, sleepless night for them all.

TANNER

As far as I can see, there are two possibilities here. The first is that Andrew was indeed the girls' kidnapper, and he was murdered either in an unrelated incident, or by someone trying to play hero.

Her eyes flit just briefly to Toby. It's so brief, in fact, that it could be coincidental. He notices but attempts to play it off.

TOBY

How do we know it wasn't a suicide?

BARRY

It looks like he was stabbed right in the center of his back.

TANNER

We've had officers searching the woods since the body was discovered. No sign of a weapon.

TOBY

You think whoever did it took it with them.

Tanner gives only a small nod of confirmation.

TANNER

The second possibility is that we had it completely wrong, and the Campbell boy was set up from the beginning.

She waves her hand dismissively, not giving the theory much credit, but Toby straightens.

TOBY

So the journal, the lair at the apple farm - it was all fake?

TANNER

Could be. If that's the case, the girls are still in grave danger. And if Campbell really was behind it all, then the odds are that they're still trapped, now without access to food or even water.

A foreboding silence falls over the group. Toby is visibly uncomfortable under Tanner's gaze.

BARRY

Either way, our first priority has to be tracking down where they're being kept.

TOBY

We don't have any leads. How long are we just going to keep wandering around in the woods?

TANNER

We're not. We might not know anything about the girls' location, but I can think of someone who might.

TOBY

Who's that?

TANNER

Alison.

The name reverberates around the table. The officers exchange comments under their breath.

TANNER (CONT'D)

(to Barry)

Call Mr. DiLaurentis. Have him bring Alison down to the station as soon as possible.

BARRY

Yes, ma'am.

TOBY

Wait. You think Alison knows where Spencer and the others are?

TANNER

Not necessarily. But we know from the video we found that she's on the kidnapper's radar, at the very least. If she could give us any information about the setting of that recording, we just might have enough to track down a lead.

She slaps her notebook closed and strides out of the room, with Barry and the other officers following. Toby sighs and leans back in his chair, looking desperately lost.

TOBY

(to himself)

Where are you, Spence?

EXT. UNKNOWN FOREST - DAY

The woods feel like a completely different place in the daylight. The sun shines through the trees, and a slight breeze ruffles the leaves. The forest is peaceful, undisturbed.

With a loud rustle, SPENCER, ARIA, MONA, EMILY, and HANNA burst through the foliage, pushing branches and leaves out of their way. They've been running for two hours, and they look it - their clothes are rumpled and dirty, there are leaves in their hair, and they're cold and exhausted.

HANNA

I can't run anymore. My knees feel like they're going to pop off.

EMILY

I feel like we've been running forever.

Spencer squints through the trees at the sun.

SPENCER

Close. About two hours.

ARIA

That's all?

MONA

We can't keep going like this. We're going to have to figure out something else.

HANNA

Can that something involve taking a break? I'm in serious need of a nap.

There's silence as the girls ponder this. The thought of stopping is disconcerting. They know the risk, but -

EMILY

I think we could all use the rest.

SPENCER

We just have to be careful. At least one person awake at all times.

Aria stands on tiptoe and peers through the trees.

ARIA

I think we passed a big cluster of bushes a few minutes ago.

EMILY

Come on.

The exhausted PLLs turn and start moving slowly back the way they came.

End of Teaser.

ACT ONE

INT. ROSEWOOD COMMUNITY HOSPITAL - PATIENT ROOM - DAY

ASHLEY stands at the window beside the bed, gazing out at the tops of the surrounding buildings and the blue sky. She's lost a visible amount of weight, and she looks as though she's started to shrink into herself. Her eyes are empty, almost soulless - as if she's just about lost the will to go on.

There's a soft KNOCK on the door. Ashley doesn't turn as CALEB enters. He frowns in concern and immediately rushes to her side.

CALEB

Ms. M, come on, you shouldn't be out of bed.

He attempts to take her arm, but she pulls away.

ASHLEY

I'm fine, Caleb. I just needed to look at something that's not HGTV.

CALEB

Did the doctor say when you can get out of here?

She doesn't answer, but finally pivots to face him. She looks even more defeated.

ASHLEY

I've been reading blogs, written by parents of abducted children.

CALEB

You shouldn't do that to yourself.

ASHLEY

They all say that every day it gets just a little easier. A little more bearable.

She sinks down onto the edge of the bed.

ASHLEY (CONT'D)

But they're wrong. It doesn't. Every day without her, I feel like my heart breaks even more.

Caleb sits down beside her. They're both near tears. He struggles to find the right words.

CALEB

That's because you haven't given up. You know she's still out there. And I promise you, I will do everything I can to find her.

Ashley attempts to believe him, but can't quite get there.

EXT. UNKNOWN FOREST - DAY

The girls lie, asleep, on the forest floor, surrounded by thick bushes. They're leaning against each other, their sleep fitful. They're clearly worried, even while they sleep.

We PAN IN on Mona, who is curled up tight and visibly shaking.

DISSOLVE TO:

EXT. UNKNOWN FOREST - EVENING

As the sun begins to set and the sky darkens, the PLLs sit up, awake and disoriented.

EMILY

How long were we asleep?

HANNA

Not long enough.

SPENCER

Just a few hours. But we should keep moving.

They get to their feet, their nerves obviously returning as the seriousness of the situation sinks back in.

MONA

We don't even know which direction we should be heading toward.

ARIA

Maybe we can try and make some kind of signal? Something obvious, that can attract attention.

HANNA

Whose attention? Charles?

SPENCER

Drawing attention to ourselves is the last thing we want. Besides, no one even knows we were kidnapped in the first place.

Emily leans down a little, looking closely at some trampled leaves leading between a cluster of trees.

EMILY

Guys, that looks like a path. Other people must hike through here.

Aria points in the opposite direction.

ARIA

Look, there's another one there.

MONA

At least one of them must lead to a way out of here.

SPENCER

We just can't choose the wrong one.

HANNA

So we split up.

Aria turns to her, her eyes widening.

ARIA

I don't think that's a good idea.

HANNA

Do you have a better one?

MONA

No, I think Hanna's right. We can cover more ground, get help faster this way. And it's not like any of us will be alone.

EMILY

I don't know.

SPENCER

Besides, it'll make it harder for Charles to track us down if we're not traveling in one big group.

That statement is unsettling enough to convince everyone. They exchange cautious nods.

MONA

Two of us go one way, three the other?

HANNA

Yeah.

She grabs Emily's arm, who is closest to her, and tugs her in the direction of one of the paths.

HANNA (CONT'D)

We'll go this way. Em, you can do that whistle thingy with your fingers, right?

Emily looks uncertain.

EMILY

I could when I was a kid, but -

HANNA

That's good enough for me.

SPENCER

I can do it, too. We whistle if we find what looks like a way out.

The groups part ways. Despite having come up with a new plan, the idea of splitting up is still nerve-wracking, and the girls trek into the woods with a feeling of trepidation.

INT. ROSEWOOD POLICE STATION - EVENING

ALISON and KENNETH sit side by side in two plastic chairs. Kenneth looks stern and unemotional, but Alison is obviously worried.

ALISON

What exactly did they say?

KENNETH

Just that Detective Tanner is requesting to speak with you. He couldn't give me any more details.

ALISON

You don't think I'm a suspect, do you?

He gives her a strange look - why would her mind even go there?

KENNETH

Of course not. You have the best alibi I can think of.

It's an attempt at a joke, but it falls completely flat. Alison doesn't look comforted. Kenneth turns serious.

KENNETH (CONT'D)

Al, I know you made some...enemies here. But that was a long time ago. Everyone knows you're not the same person you were back then.

ALISON

I know.

Despite her words, her frown deepens. Does everyone really know that? Has she actually proven that she's changed? She is overtaken by doubts.

TANNER (O.S.)

Miss DiLaurentis.

Alison and Kenneth look up in unison to see Tanner walking toward them. She is not smiling.

TANNER (CONT'D)

Thank you for coming so quickly. You can follow me.

Alison stands, and Kenneth begins to follow. Tanner holds out a hand to stop him.

TANNER (CONT'D)

Alone.

KENNETH

That's unacceptable. I'm her father.

ALISON

Dad, no, it's okay. I can do this.

She doesn't seem convinced by her own words, but she successfully stops him. He sits back down with obvious reluctance as Alison nervously follows Tanner toward the back of the station.

INT. ROSEWOOD POLICE STATION - INTERROGATION ROOM - EVENING

Tanner shoos Alison into the small, blank room and shuts the door behind them. Tanner is almost unnervingly calm, but Alison is fidgety as they sit down across from each other.

ALISON

Why am I here?

TANNER

I just have a few questions for you about your missing friends. Specifically, about the new evidence that led to your release from prison.

Her statement confirms Alison's fears. She begins to panic but tries to keep herself under control.

ALISON

Are you saying you think I had something to do with it? When I was in prison?

TANNER

I'm not saying that at all. In fact, I'm hoping you can help us find out who is responsible.

She opens the laptop on the table between them and turns the screen around to face Alison. When she presses play, the video of the Liars in the game room that was found on the Campbell farm begins to play.

SPENCER (V.O.)

Mona, come on.

MONA (V.O.)

I'm Alison. Alison DiLaurentis.

HANNA (V.O.)

For God's sakes, Mona, let's go!

When the siren on the video begins to blare, Alison flinches. She is visibly affected by the video. She can barely bring herself to look at the screen.

ALISON

Oh my god. What is that place?

TANNER

That's what we're trying to figure out. We find that location, we find the girls.

Alison tears her eyes away from the video.

ALISON

I don't understand how you think I can help you.

Tanner pulls the laptop closer. She zooms in on Mona and taps on the screen.

TANNER

Mona Vanderwaal was dressed just like you were the night you disappeared. She was answering to your name. The girls' kidnapper obviously knows who you are. They may even be someone you know personally.

The thought makes Alison sick to her stomach. She presses a hand to her mouth.

TANNER (CONT'D)

I want you to study the surroundings of this video. Look around at the room the girls are trapped in. Does anything about it look familiar to you?

With obvious hesitation, Alison leans forward, taking a look at the video. After just a moment, she sits back.

ALISON

No. No, I don't think so.

TANNER

Look again. As closely as you can. This might be our best chance at getting a lead.

Alison forces herself to focus. She recognizes the importance of this. She will do whatever it takes to save her friends.

She pulls the laptop closer to her and narrows her eyes in concentration. She takes in the puppets, blocks, and games that fill the room around the girls. We PAN IN on her eyes as they flit back and forth. She is focusing on every detail, wracking her brain.

And then -

SMASH CUT TO:

INT. CHARLES' GAME ROOM - FLASHBACK

Scene is shot through Alison's POV. We see flashes of the game room - a toy chest, a marionette hanging from a hook on the wall. Someone pushes her from beyond, and we hear a young-sounding CRY as she falls. The room tilts sideways. White spots distort her vision.

A louder, PIERCING SCREAM cuts through the air. A shadow appears, looming over the younger Alison, darkening the room.

SMASH CUT TO:

INT. ROSEWOOD POLICE STATION - INTERROGATION ROOM - EVENING

Alison blinks out of the memory. Her heart is pounding, and a bead of sweat rolls down her temple. _What was that?_ She has never experienced that memory before, and she feels ill.

TANNER

Alison?

Alison snaps back to attention, ripping her eyes away from the laptop screen. Tanner is watching her intently.

TANNER (CONT'D)

Is something wrong?

Alison is at a loss for words. That memory was certainly something, and most certainly connected to the dollhouse, but she can't find the words to describe it. Panic seizes her. She needs to get out of this room, now.

ALISON

No. No, I just...it doesn't look familiar. I'm sorry, detective, I really have to go.

She rushes from the room without waiting for a response. Tanner gazes after her. She knows a lie when she hears one.

End of Act One.

ACT TWO

EXT. UNKNOWN FOREST - EVENING

The sky has darkened to a dusty pink. Hanna and Emily pick their way through the trees. Emily is marching ahead with determination, but Hanna lags behind. She keeps glancing over her shoulder in obvious paranoia.

EMILY

Hanna, come on. I think the path gets even clearer up here.

Hanna doesn't appear to have heard. She looks back again. Emily is at her wit's end.

EMILY (CONT'D)

Hanna!

HANNA

Shh! I have a bad feeling.

EMILY

What do you mean?

HANNA

I don't know, I just...I keep getting the feeling that someone's watching us.

Emily puts her hands firmly on Hanna's shoulders.

EMILY

Hanna. We just spent three weeks trapped in an underground dollhouse. Okay? I think we're all feeling a little paranoid.

HANNA

Is it really paranoia if someone's actually trying to track us down?

EMILY

Charles will be able to track us down if we don't keep moving. Let's go.

She tugs Hanna's arm. Hanna shoots one last look behind her, clearly unconvinced, before following in resignation.

EXT. UNKNOWN FOREST - ELSEWHERE - EVENING

Spencer climbs between two bushes, brushing leaves out of her way. She's moving quickly and intently, following the path of trampled leaves with a look of serious concentration. Aria follows right on her heels, but Mona lags behind. Her arms are wrapped around herself, and she looks pale even in the dim light.

SPENCER

I could have sworn I heard water rushing a minute ago. Maybe this path leads to a stream.

She looks back.

SPENCER (CONT'D)

Mona, let's go, keep walking.

MONA

Coming.

Spencer turns away, but Aria lingers, concerned.

ARIA

Are you okay?

Mona hesitates, then suddenly sinks down to sit on an overturned tree. She's shaking, obviously ill.

MONA

No. I don't think so.

Spencer and Aria rush back to her.

SPENCER

What's wrong?

Aria places her hand on Mona's forehead.

ARIA

Oh my god, you're burning up.

MONA

I haven't felt right since you guys pulled me out of that hole.

SPENCER

Everything that Charles put you through must be catching up to you.

MONA

I know we need to keep moving, okay, but...

Aria sinks down onto the tree beside her. She and Spencer exchange a worried look.

ARIA

No, no, it's okay. We've been walking for hours. You should get some rest.

Spencer leans down and examines a few rocks covered with moss with a clinical expression.

SPENCER

It seems like the forest is getting more lush. We must be close to water.

She squints at the path of trampled leaves, into the trees.

SPENCER (CONT'D)

You guys stay here. I'll walk a little more, see if I can find a stream.

MONA

We won't be able to purify it.

She's shivering so badly that the words come out shaky. Spencer gives her a long look.

SPENCER

I think that's the least of our problems.

She turns and EXITS, moving deeper into the woods.

ARIA

Be careful!

She wraps an arm around Mona's shoulders and looks worriedly after Spencer.

INT. HASTINGS HOUSE - KITCHEN - EVENING

Toby stands at the kitchen island, still wearing his police uniform. Across from him are Ashley, VERONICA, ELLA, and PAM. They are all in various states of distress and disarray. It's obvious that no one has been sleeping.

PAM

So you brought us all together to tell us...what? There's no news?

TOBY

I said there was no news into the girls' location. But there are a few other updates.

ASHLEY

What are they?

Ella glances down at Ashley's wrist. She hasn't yet removed the hospital bracelet. Ashley notices her looking, then casually covers it with her other hand.

VERONICA

Tell us you have a lead, at least.

TOBY

Actually, kind of the opposite.

The mothers exchange confused looks. Toby heaves a sigh, then delivers the blow -

TOBY (CONT'D)

Our biggest suspect was found dead in the woods last night.

There are GASPS and looks of shock all around as everyone reacts.

VERONICA

The Campbell boy?

Toby nods grimly.

ELLA

So what does this mean?

TOBY

Tanner has a few theories. I can't say too much while we're investigating, but I thought you should know that this might not be as simple as Andrew kidnapping the girls.

PAM

You're saying this isn't just about tracking down Andrew anymore? You're back to square one?

TOBY

Maybe not. Remember the photos Tanner showed you, from the video we found of the five of them?

At the slightest sign of possible progress, Ashley perks up.

ASHLEY

In that room, with all of the toys. Did you find out where it is?

At her words, the mothers all grow expectant, desperate for a positive answer.

TOBY

Not yet.

There is a simultaneous deflation.

TOBY (CONT'D)

But Tanner thinks that Alison might.

ELLA

Alison?

No one appears particularly surprised.

VERONICA

But she was still in prison when the kidnapping took place.

TOBY

We're not saying she was the one who grabbed them. But today she got a look at the video of the girls for the first time. According to Tanner, she completely freaked out, pretty much ran from the room.

VERONICA

When Peter and I visited Alison several weeks ago, she seemed genuinely worried. But if she really is working with "A," it's a safe bet that she knows where the girls are being held.

Toby nods in agreement, but a stunned silence falls over the room as the other women turn to Veronica.

PAM

Did you just say "A"?

ASHLEY

I thought Mona was "A."

ELLA

And I thought that ended last year.

VERONICA

It turns out we all thought wrong.

EXT. UNKNOWN FOREST - NIGHT

Hanna is kneeling beside a bush, examining the berries on it critically.

HANNA

Are blueberries supposed to grow in clumps like this?

There's no response from Emily.

HANNA (CONT'D)

God, I'm so hungry I almost want to take the chance.

She gives it another moment of thought, then reluctantly drops the berries and stands.

HANNA (CONT'D)

Em?

Emily is standing a few feet away. She's peering through a group of trees.

HANNA (CONT'D)

What is it?

EMILY

Come look at this.

Hanna joins her and follows her gaze. On the other side of the trees is a small clearing that contains a fire pit, a few folding chairs, and a camper. It's the first sign of other human life any of them have seen.

HANNA

Do you think someone else is here?

EMILY

I don't know. It looks pretty dark in there.

HANNA

Uh, maybe because it's the middle of the night? They're probably just sleeping.

She starts confidently toward the camper.

EMILY

Hanna!

She rushes after her. The girls approach the camper. There is no car attached to it, no tire tracks in the dirt. It's as if it appeared out of thin air.

EMILY (CONT'D)

It looks abandoned.

HANNA

Not completely.

An unopened Coke can sits in the cupholder of one of the chairs. She grabs it while Emily looks on in disgust.

EMILY

Ew, Hanna. You don't know how long that's been sitting there.

HANNA

Emily. I'm so thirsty my tongue feels like it's going to shrivel up and crack off. I don't care if it's from the Stone Age, I'm drinking it.

She opens the can and takes a swig. She smiles - sweet relief. Then she takes another sip and considers.

HANNA (CONT'D)

A little flat, but not bad.

Watching her, Emily can no longer restrain herself. She reaches for the can.

EMILY

Fine, give it to me.

Hanna hands over the Coke as we cut to -

EXT. UNKNOWN FOREST - ELSEWHERE - NIGHT

Spencer and Aria sit on the forest floor, leaning against a tree, behind brush that is keeping them hidden from view. Mona is asleep, lying with her head in Spencer's lap.

ARIA

How long are we going to stay here?

SPENCER

I don't know. Maybe when she wakes up she'll be able to walk for a while.

ARIA

I wonder where Hanna and Emily are.

SPENCER

Hopefully closer to civilization than we are.

Aria pulls her knees up to her chest. Her eyes begin to widen with obvious panic.

ARIA

What if she keeps getting sicker? What are we gonna do then?

SPENCER

You can't think like that. Hope is the only thing we have left.

ARIA

Yeah, speak for yourself. I think the last of my hope ran out about a quarter mile ago.

They fall silent. We PAN IN on Mona as she stirs and opens her eyes. Through her POV, we see the forest blearily come into focus. There's a flash of movement between two trees. The leaves rustle.

She looks closer, frowning. There's another flash of yellow, and then a figure moves into focus - it is Alison. She turns, her blond hair falling down her back, and looks directly at Mona with an unreadable expression before disappearing back into the darkness of the trees.

Mona bolts upright. Spencer and Aria reel back, startled.

SPENCER

Whoa.

ARIA

God, are you okay?

Mona is nearly worked into a panic. She stares into the trees, her eyes darting back and forth, looking for another glimpse of Alison.

MONA

(to herself)

She was right there, I just saw her...

ARIA

Who was?

MONA

You didn't see her?

Spencer and Aria are beginning to get nervous.

SPENCER

No, no, we didn't see anything.

ARIA

What are you talking about?

Mona finally faces them.

MONA

Alison. She was standing right there, between those two trees.

Silence. It's as if the sound is sucked right out of the forest as Spencer and Aria process this.

SPENCER

(slowly)

You saw Alison?

MONA

Yes! She was wearing the yellow shirt, the same one I am. She can't be too far away -

She starts to stand, but Spencer pulls her back down swiftly.

SPENCER

Mona, Ali's not here.

ARIA

You must have been sleeping. Dreaming.

Mona can't believe they don't believe her. It seemed so real.

MONA

I wasn't asleep, and it was her. I swear.

SPENCER

If Alison was here, why wouldn't she come over to us?

Mona struggles to find an answer. Aria feels her forehead.

ARIA

It feels like your fever broke. I always have vivid dreams when that happens.

MONA

But -

Spencer puts her hands firmly on Mona's shoulders. Her expression is serious.

SPENCER

Alison is not here. You were sick, and you were dreaming. Now come on, let's see if we can get a couple more miles between us and that bunker.

She and Aria start to get to their feet. Mona follows, still looking unconvinced. She shoots one last long, conflicted look back at the trees.

End of Act Two.

ACT THREE

INT. DILAURENTIS HOUSE - LIVING ROOM - NIGHT

Alison is curled up in a chair, reading a magazine. Kenneth activates the alarm system by the front door, then moves toward the stairs.

KENNETH

Don't stay up too late, okay?

Alison watches as he climbs one stair, then two. She takes a deep breath, then flips the magazine closed, ready.

ALISON

Did we ever live anywhere else?

Kenneth freezes on the stairs and slowly turns back to her.

KENNETH

What do you mean?

ALISON

Before we lived here, in this house.

Kenneth is thrown by the question. He descends the stairs and walks further into the room.

KENNETH

Al, you know we've lived in this house since before you were born.

ALISON

Well, it's not like I can remember back that far.

Kenneth gives her a strange look, then crosses the room and picks up a framed photo that's sitting on the piano. He hands it to her.

The photo shows JESSICA sitting in the very chair that Alison is still curled up in. She's holding a newborn Alison in her arms, and a young JASON is leaning over the chair's arm. It was very clearly taken in the same living room.

KENNETH

This was taken the day you came home from the hospital.

Alison gazes down at the photo. Her expression is mostly unreadable - she's got her poker face on - but confusion flits briefly through her eyes.

ALISON

I forgot about that picture.

KENNETH

Why are you suddenly wondering if we've always lived here?

Alison pauses to weigh her options. There's a limit to how much he can know.

KENNETH (CONT'D)

Does this have something to do with what Detective Tanner asked you?

ALISON

No. I just...I was just thinking about this dream I had last night. There was this playroom, with a bunch of games in it. I don't remember there ever being a room like that in this house.

KENNETH

Well, it was just a dream. It must have been something you made up in your head.

His tone is final. The discussion is over. He starts for the stairs again, but Alison isn't ready to let it go.

ALISON

No, it seemed familiar. Like I really had been there before, in that room. You're sure we didn't have a playroom when I was younger?

A long, pregnant pause, then -

KENNETH

No. Never.

He escapes up the stairs. Alison looks after him, then opens the magazine again. Much like Tanner, she knows a lie when she hears one.

EXT. UNKNOWN FOREST - CLEARING - NIGHT

Hanna is finishing off the Coke while Emily peers in the windows of the camper, cupping her hands around her eyes to see in.

EMILY

I really don't think anyone's in there.

HANNA

You don't know that. And even if there's not, there might be something we can use.

EMILY

Like what?

HANNA

I don't know. A phone?

EMILY

Oh, right. I forgot that pine trees radiate cell reception.

HANNA

(to herself)

I thought they were hardwoods.

Emily is just about fed up.

EMILY

That's not the point! We're wasting our time standing around this abandoned RV when we could be -

HANNA

Shh!

Emily freezes and looks at her. Hanna is suddenly alert, her brow furrowed.

HANNA (CONT'D)

Did you hear that?

EMILY

No. Hear what?

Hanna holds out a hand to hush her. They fall quiet. A moment later, a loud CRACK startles them both.

EMILY (CONT'D)

(uncertainly)

It's probably just a rabbit. Or a bird.

Another, louder CRACK. Hanna whispers loudly.

HANNA

Only if that rabbit has feet the size of dinner plates. No, that's a person!

EMILY

Aria, Spencer? Mona?

There's no answer. Hanna and Emily creep closer to the source of the sound, just in time to see a hand clad in a black glove reach through the brush to push it aside.

PANIC ENSUES. They SCREAM as CHARLES, wearing the usual black hoodie and mask, appears just feet away.

HANNA

Oh my god!

EMILY

The camper! Hurry!

They run for the camper. Emily grabs the door handle and yanks. It sticks, but ultimately creaks open. The girls nearly trip over themselves in their haste to get inside.

INT. UNKNOWN FOREST - CAMPER - NIGHT

Charles' hand is reaching for the door when Emily slams it shut and pulls the rusty lock across it.

HANNA

(panicking)

He found us. How the hell did he find us?

EMILY

He's probably been trailing us this whole time.

Charles looms just outside the door. His silhouette is visible. The door handle begins to shake. Hanna and Emily SCREAM.

EMILY (CONT'D)

Hanna, get back!

They huddle together along the far side of the small, dusty camper, pressed against the rusted metal table, watching helplessly and crying for help as their kidnapper attempts to force his way in.

EXT. UNKNOWN FOREST - ELSEWHERE - NIGHT

Spencer, Aria, and Mona continue to pick their way between the trees. They are moving silently and as quickly as possible, shooting anxious glances over their shoulders. The nerves have settled back in.

ARIA

How much longer until we get to this stream?

As soon as the words leave her mouth, a faint SCREAM pierces the air. The girls freeze, grabbing each other.

MONA

What the hell was that?

Another scream follows. The girls stare at each other. The realization dawns on them simultaneously.

SPENCER

Hanna and Emily.

In an unspoken agreement, they break into a run toward the sound.

INT. DILAURENTIS HOUSE - ATTIC - NIGHT

Caleb and Toby lean against covered furniture and stacks of boxes. Their heads are slightly bent below the sloping ceiling.

CALEB

When you sent us an SOS text, the last thing I thought you needed was help cleaning out your attic.

TOBY

I was still down at the station. I had to make up an excuse to Tanner to get out of there.

We PAN OVER to Alison, across the attic. She's kneeling in front of a large box and rooting through it intently.

ALISON

Keep your voices down. My dad's room is right below here.

She sits back and slides the box over to them.

ALISON (CONT'D)

My mom was obsessive about documenting. There's at least one photo album in here for every year of my life. I can't go through them all alone.

Toby and Caleb exchange a look. Has she lost it?

CALEB

Ali, I know we're all on edge, but don't you think going on a trip down memory lane at one in the morning is kind of over-the-top?

ALISON

It's one memory in particular I'm looking for.

She pulls a few dusty photo albums out of the box, blows the dust away, and holds them out. Caleb and Toby hesitantly kneel down beside Alison and take them.

ALISON (CONT'D)

Tanner showed me that video that you found at the apple farm.

Toby is suddenly alert.

TOBY

Yeah, she told me.

ALISON

She wanted to see if I knew anything about the playroom that the girls were in.

CALEB

And you do? Know something?

ALISON

I remembered that room. Clearly.

She flips open the album in her lap and begins scanning the photographs. Toby and Caleb stiffen at her words.

TOBY

You've seen it before?

CALEB

So why are we sitting here looking at your family pictures? Where is it?

ALISON

It was just a quick memory. At first I thought it was from a different house, somewhere we lived before we moved here. But when I found out that we've lived here my whole life, I started thinking...maybe "A" just made a copy of that room. Recreated it.

CALEB

Why would "A" do that?

TOBY

Yeah, why would they care about some playroom you grew up with? And how would they even know about it?

Alison falters. She hadn't even thought about any of that, and the possible implications disturb her.

ALISON

I don't know. But I'm pretty sure my dad lied to my face tonight. I have to prove that I'm not crazy, that a room like that really does exist.

CALEB

If Hanna's being held captive in a replica of some room from fifteen years ago, this isn't going to help us find her.

ALISON

No. But it might help us figure out who's holding her there.

Her eyes are determined, warning them to keep arguing. Caleb and Toby stare back at her, uncertain. After a beat, Caleb lets out a resigned breath, and holds out his hand to take a photo album.

End of Act Three.

ACT FOUR

INT. UNKNOWN FOREST - CAMPER - NIGHT

The door handle shakes uncontrollably. BANGS resonate through the camper as Charles attempts to force his way inside. Hanna and Emily are frantically attempting to find a way to defend themselves.

HANNA

Who sleeps in a camper in the middle of the woods and doesn't at least bring a baseball bat?

Emily grabs a can of bear repellent from the shelf beside the bed.

EMILY

Here!

HANNA

We're gonna pepper spray him to death?

EMILY

If you have a better idea...

They stand together in front of the door. Emily holds the repellent out like a weapon. Just as she's reaching for the door handle, the rattling stops. Charles' shadow disappears from the other side of the door.

Silence falls as abruptly as if he was never there at all. Hanna and Emily are shocked.

HANNA

Wait.

EMILY

This is a trap, right?

With sudden resolve, Hanna grabs the bear repellent out of Emily's hand, then darts forward and swings the door open. The clearing is deserted. Charles is nowhere in sight.

HANNA

He's gone.

She starts down the wooden steps. Emily follows cautiously.

EMILY

Be careful.

They creep out into the clearing. Nothing about this makes sense. As they peer around, ready and waiting, they're startled by a rustling from the nearby brush.

They both spin around. Hanna holds the repellent at the ready.

HANNA

Don't come any closer!

The rustling continues. Hanna and Emily huddle together. A moment later, Spencer, Mona, and Aria burst out into the clearing.

ARIA

There you are!

Hanna and Emily visibly relax.

HANNA

God, you scared the crap out of us.

Mona focuses on the camper. She walks slowly toward it and peers in the open door.

SPENCER

We heard screaming. What's going on?

EMILY

Charles tried to kidnap us again.

The reactions are immediate and severe. Spencer and Aria are aghast.

ARIA

Wait. Charles was here?!

SPENCER

How did you get away?

HANNA

We locked ourselves in the RV. And then he just...disappeared.

EMILY

Out of thin air.

Aria shivers. The nerves are setting back in.

ARIA

Why would Charles come that close to grabbing you guys again and then just give up?

SPENCER

It can't be that easy. He must still be lurking around.

ARIA

Yeah, and now we're all right here, out in the open. We have to get out of here.

MONA (O.S.)

Wait.

All four heads turn. Mona exits the camper. She still looks pale and sick, but she's smiling, clutching something worn and folded.

EMILY

What are you doing?

Mona joins them and holds out the paper victoriously. It's an old, wrinkled, but still very functional map.

MONA

I found this in the RV.

HANNA

(breathless)

A map.

MONA

Let's find our way home.

INT. DILAURENTIS HOUSE - ATTIC - NIGHT

Photo albums lay, discarded, in disarray. Loose photos have been strewn across the floor. Alison, Caleb, and Toby are still flipping through albums, but at a slower pace. They're reaching their limit.

TOBY

Look, I have to be at the station at six in the morning.

CALEB

Yeah, Ali, I don't think we're gonna find anything here.

Alison lets out a sigh. Her eyes are tired and filled with disappointment. She was counting on this lead. Caleb stands, slapping closed the album he's holding. As he does so, a photo comes loose and flutters to the floor.

Alison reaches for it. She's about to toss it aside when it catches her eye. She stares. Her expression morphs into disbelief.

ALISON

Oh my god. Look.

Toby and Caleb crowd around. Their eyes widen. We PAN IN on the photo, which shows Alison, as a baby, in a bassinet. Two blond-haired boys, around the age of seven, stand over her, holding puppets. The setting of the photo is unmistakeable: It is the playroom from the dollhouse.

TOBY

It's the same room.

Alison can't tear her eyes away from it. Her face is filled with emotion.

CALEB

You were right, Ali. Your dad did lie to you.

Alison's expression settles into confusion. She holds the picture up close to her face as she takes in the faces of the children in the photo. She runs her finger over each one.

ALISON

That's me, and that's Jason.

She turns to Caleb and Toby, holding the photo out to them. Her finger rests just above the second blonde boy.

ALISON (CONT'D)

But who is that?

End of Act Four.

ACT FIVE

INT. FOREST OUTSKIRTS - CABIN - DAWN

An OLD MAN is easing himself into an easy chair, mug of coffee in hand. The small, old-fashioned television is turned to the local news, which is blaring with a report about the girls' kidnapping.

NEWS REPORTER

As the days tick by, the search continues for the five missing Rosewood teenagers. Among the alleged abductees is Mona Vanderwaal, who was assumed to have been murdered on Thanksgiving Day. The police have confirmed that -

There is a KNOCK at the door. The man heaves himself up, startled, and moves to answer it. Wary, he shoots a quick glance at the shotgun propped in the corner before he pulls the door open.

Spencer, Aria, Hanna, Emily, and Mona stand at the other side. They're exhausted, covered with dirt and leaves, their eyes wide and filled with hope.

SPENCER

Can you help us?

The old man takes a surprised step back. Silently, he looks over his shoulder, straight at the television. The screen is now filled with the images of the same five girls standing in front of him.

He looks back at them. Their eyes are locked onto him in desperation. The situation is so surreal that he can't help but let out a disbelieving laugh.

OLD MAN

Well, I'll be.

INT. MARIN HOUSE - ASHLEY'S BEDROOM - DAWN

Ashley is trying and failing to sleep. She stares up at the ceiling, her face blank. From the table beside the bed, her phone BUZZES, the screen casting light over her face.

Ashley sits up and turns to it. She runs her hand sadly over a framed photo of her and Hanna that sits on the table, then reaches to answers the phone.

ASHLEY

Hello?

As she listens to the voice on the other end, she slowly sits up, her face morphing into shock.

INT. HASTINGS HOUSE - KITCHEN - DAWN

Veronica sits at the island, scouring over files. She doesn't appear to have slept. Her cell phone begins to blare, and she answers it.

VERONICA

Veronica Hastings.

Just like Ashley, her face immediately changes as she listens. The exhaustion disappears completely.

VERONICA

You're kidding. When?

INT. FIELDS HOUSE - LIVING ROOM - DAWN

Pam is curled up on the couch, the landline pressed to her ear. She's talking to WAYNE.

PAM

Did you explain the situation?

(a pause, then)

I just don't understand why they're not willing to give you a few days' leave. Your daughter is missing.

The phone BEEPS.

PAM (CONT'D)

Hold on a second, honey. Someone's on the other line.

She hits a button on the phone and holds it back to her ear.

PAM (CONT'D)

Hello? Wait, Ashley, slow down. They were what?

INT. MONTGOMERY HOUSE - LIVING ROOM - DAWN

Ella is standing with one hand resting on the couch, as if to support herself. Her cell phone is pressed to her ear, and she's pale with shock.

ELLA

What are you saying? They - they were? They were...

She drops the phone suddenly to the couch and yells toward the stairs.

ELLA (CONT'D)

Byron! Byron, they found the girls! They found Aria!

She rushes up the stairs, already beginning to cry with joy.

EXT. FOREST OUTSIDE ROSEWOOD - CLEARING - DAWN

A MALE COP and a FEMALE COP survey the area surrounding the camper, flashlights in hand.

MALE COP

You sure this is the place?

FEMALE COP

The girls said they last saw the kidnapper right by an old, abandoned camper. This must be it.

They search for another moment, shining their lights inside the small RV. There's no sign of Charles.

MALE COP

Whoever it is, looks like he's long gone by now. But we should still put out an APB when we get back to the station.

There's the CRACK of a twig snapping. The officers spin around, holding the flashlights up, their hands going to their waists as leaves rustle nearby.

FEMALE COP

Who's out there?

MALE COP

Rosewood police! Come out here with your hands up!

There's another rustle, a flash of yellow, and a MYSTERY GIRL suddenly moves into the clearing, her hands shaking in the air. She's wearing a dirty yellow tank top, her blond hair is long and stringy, and her eyes are sunken and outlined with dark circles.

The police lower their flashlights, staring, as the girl moves closer. There's a skittish look about her, like a wild animal ready to flee at any moment.

FEMALE COP

Hello there.

She frowns at the girl, then leans over to her partner.

FEMALE COP (CONT'D)

(whispering)

I recognize the shirt she's got on. One of the rescued girls had on the same one.

They move toward the Mystery Girl, growing more concerned. She stares back at them with wide, scared eyes.

MALE COP

It's okay, we won't hurt you. What's your name?

There is a painfully long beat of silence. The Mystery Girl clears her throat. When she speaks, the words are shaky and her voice croaks, as if she hasn't used it in a long time.

MYSTERY GIRL

My name is Alison. Alison DiLaurentis.

End of Act Five.

**Notes for the Chapter:**

> Next on Pretty Little Liars: As the Liars struggle with readjusting to their new reality, they find themselves slipping back into old habits. Alison seeks out assistance in her hunt for answers.


	3. 6x03 - "Under Lock and Key

**Summary for the Chapter:**

> Feedback is always appreciated!

SEASON 6, EPISODE 3: "UNDER LOCK AND KEY"

TEASER

FADE IN:

INT. ROSEWOOD COMMUNITY HOSPITAL - PATIENT ROOM - DAY

MONA is lying back in the hospital bed. SPENCER, EMILY, ARIA, and HANNA are gathered around, sitting on the edges of the bed. Everyone is clean and dressed in hospital gowns, free of any sign of their trek through the forest.

HANNA

Where'd your mom go?

MONA

Just down the street to that convenience store. She doesn't think the doctors are giving me enough fluids.

She rolls her eyes, but it's good-natured. It's obvious how overjoyed she is to be reunited with her mother.

ARIA

Hey, at least it was just dehydration.

EMILY

Yeah, we're all lucky that we got out of there unhurt.

HANNA

And alive.

Spencer looks around at them all. She looks eager to speak, but hesitant to actually say the words.

SPENCER

So. Did you guys hear about Andrew?

The girls shift uncomfortably.

MONA

They were talking about it in my ambulance.

ARIA

Yeah, and it was all over the news.

EMILY

It's so creepy to think about.

HANNA

Which part? That he apparently had journals where he talked about how much he hated us, or that someone literally stabbed him in the back?

Spencer's eyes are blazing with the determination of a new theory.

SPENCER

That's the thing. After everything I've heard, I'm not so sure Andrew did keep those journals.

EMILY

What are you talking about?

SPENCER

The people in my ambulance said something about the police finding a video from the dollhouse at Andrew's family's apple farm.

This is news to the others. They react with surprise.

HANNA

Wait, what?

MONA

But Andrew can't be Charles. He was still chasing us after Andrew was found dead.

SPENCER

Exactly. The journals, the lair at the farm...someone was trying to set Andrew up to take the fall for kidnapping us.

Aria looks nauseated.

ARIA

Andrew would have gone to jail, and Charles would have gotten off scot-free.

MONA

If that's true, why would Charles kill Andrew before any of that could happen?

SPENCER

Maybe Charles wasn't the one who did it.

They fall silent, affected by this thought. Suddenly, a BURST OF YELLING sounds from outside the partially open door to the hallway, accompanied by BANGING and general commotion.

MYSTERY GIRL (O.S.)

No! Let go of me, let me go!

Something CRASHES. The girls leap up and rush to the door. They crowd in the doorway and peer out.

DOWN THE HALLWAY, the MYSTERY GIRL, still filthy and wearing the yellow top, is thrashing against three nurses who are trying to take hold of her. She's SCREAMING and flailing, trying desperately to get away from them. It is a disturbing scene to watch.

The girls stare in horror, completely transfixed, as we -

CUT TO BLACK.

End of Teaser.

ACT ONE

INT. ROSEWOOD COMMUNITY HOSPITAL - PATIENT ROOM - DAY

Aria clutches a pillow to her chest as ELLA heaves a duffel bag over her shoulder. She's dressed in normal clothes, but there are still dark circles under her eyes.

ELLA

Ready to go?

ARIA

Yeah. The sooner we get out of here, the better.

She EXITS the room without a second glance.

EXT. ROSEWOOD COMMUNITY HOSPITAL - ENTRANCE - DAY

Aria and Ella emerge through the sliding glass doors. Ella squeezes Aria's arm, then joins ASHLEY, VERONICA, and LEONA near the parking validation machine. Spencer, Hanna, and Mona are huddled in a group on the other side of the doors, all holding pillows and bags as well. Everyone is antsy, ready to leave. Aria joins them.

ARIA

Where's Emily?

SPENCER

She and her mom are still dealing with their insurance. They said not to wait for them.

The mothers turn back to the girls.

ASHLEY

We're all good to go.

The four girls exchange looks. As relieved as they are to be leaving the hospital - and the last shred of the dollhouse - behind, reentering the real world suddenly seems daunting. There is anxiety on all of their faces.

MONA

Back to reality.

HANNA

Let's do this.

The determination in her voice is contagious. The girls join hands and follow their mothers away from the hospital doors.

INT. ROSEWOOD COMMUNITY HOSPITAL - RECEPTION AREA - DAY

PAM is standing in front of the receptionist desk, talking intently, but not quite arguing, with the RECEPTIONIST. Emily leans against the side of the desk, antsy to leave.

PAM

I just don't understand why my military ID isn't enough. My husband's actively serving. Can you try looking up his name? Wayne Fields?

As the receptionist types, Emily steps forward. She needs to move.

EMILY

Mom. I'm gonna grab something out of the vending machine.

Even the thought of Emily being out of her sight is clearly distressing to Pam, but she pulls a dollar out of her purse nonetheless.

PAM

Okay, honey. Don't go too far.

Emily accepts the money and EXITS as Pam turns back to the receptionist.

PAM (CONT'D)

W-a-y-n-e, that's right.

INT. ROSEWOOD COMMUNITY HOSPITAL - HALLWAY - DAY

Emily heads down the hallway toward a vending machine. As she's smoothing out the dollar bill, she overhears a NURSE and an ORDERLY who are standing beside an open door across the hallway, speaking in hushed voices.

ORDERLY

Have you figured out how to get her to talk yet?

NURSE

Oh, she talks plenty. She just doesn't actually tell us anything about who she really is.

ORDERLY

I still have scratches on my arms from trying to get her into her room the other day.

Emily freezes. She's listening intently, and turns away as they walk past her. She struggles with indecision for a moment, but her curiosity wins out. She crosses the hallway to the patient room across from her. There is no name listed on the placard beside it. Emily takes a deep breath, then enters the room.

INT. ROSEWOOD COMMUNITY HOSPITAL - PATIENT ROOM - DAY

The lights in the room are off, and the blinds only let in a small amount of sunlight. Emily slips in hesitantly and eases the door shut behind her.

The MYSTERY GIRL is lying in bed, asleep. She's wearing a hospital gown instead of the dirty yellow top, and her long blond hair frames her face. She looks peaceful, completely unlike the screaming girl we saw before.

Emily moves closer, examining the girl with a look of intrigue. _Who is this?_ There's a burst of voices from the hallway, and Emily's head swivels around. As she's looking the other way, we see a CLOSE-UP of the Mystery Girl's hand grabbing Emily's wrist.

Emily GASPS and turns back. The Mystery Girl is staring up at her with wide, terrified eyes. Her hand is clamped tightly around Emily's arm.

MYSTERY GIRL

(whispering)

Please help me.

Emily can't hide her fear. When she speaks, her voice wavers -

EMILY

Who are you?

MYSTERY GIRL

My name is Alison. I shouldn't be here.

Emily's eyes widen. She pulls her wrist out of the Mystery Girl's grasp and begins to back away. Her hands are shaking.

EMILY

Did you say your name was Alison?

MYSTERY GIRL

Alison DiLaurentis. You have to get me out of here. Please.

Emily is shaken to the core. She tries to respond, but can't find the words. After a moment, she backs completely out of the room, leaving the Mystery Girl staring after her.

INT. HASTINGS HOUSE - KITCHEN - DAY

Spencer cradles her cell phone between her ear and shoulder as she stands at the kitchen island, uncapping a bottle of pills.

SPENCER

She said her name was Alison?

(a pause, then)

Yeah, I'm on my way. You'll have to talk fast, though. My mom will lose it if I'm not here when she gets back from the store.

She hangs up and is just reaching for the glass of water on the counter when the back door opens and TOBY ENTERS without knocking. His expression is urgent, and he freezes upon noticing Spencer.

TOBY

Spence.

SPENCER

Oh my god.

She drops her phone and runs right into his arms. They kiss, and it's full of all of the wild emotions that have run through both of them over the past month.

TOBY

I tried so hard to see you in the hospital, but -

SPENCER

They wouldn't let anyone in except for family. It's not your fault.

He holds her face between his hands. They are so overjoyed to see each other that the feeling is almost palpable.

TOBY

I never lost hope that you'd find a way out of that place.

He reaches to grasp her hand, but she's still holding the bottle of pills. His joyous expression fades as he holds up her hand.

TOBY (CONT'D)

What's this?

SPENCER

Just something I was given at the hospital. To help me stay calm, you know, readjust.

She pulls away from him and walks back to the island. She pops a small pill in her mouth, then chases it down with a swig of water. Toby watches, obviously concerned.

TOBY

And your mom's okay with this?

SPENCER

She doesn't know. I'm eighteen, I don't need her permission.

She checks her watch.

SPENCER (CONT'D)

I have to get to Emily's. I'll call you as soon as I get back, okay? I love you.

She kisses him again, then rushes out the door. Toby looks after her, then glances worriedly at the pill bottle.

INT. FIELDS HOUSE - EMILY'S BEDROOM - DAY

Emily is pacing back and forth across her room while Spencer, Aria, Hanna, and Mona watch her from the bed.

ARIA

She actually said she was Ali? Same last name and everything?

EMILY

She told me her name was Alison DiLaurentis. I heard her clear as day.

HANNA

Why would some random girl at the hospital claim to be Ali?

Mona pulls a pillow onto her lap and studies it, deep in thought.

MONA

Maybe she's not so random. Remember when I thought I saw Alison in the woods, when I was sick? When we saw that girl in the hospital, she was wearing the same yellow shirt.

Emily freezes. Everyone stares at Mona as the same realization dawns on them.

SPENCER

I completely forgot about that. I'd bet anything that was her.

HANNA

Okay. So why would a random girl in the woods claim to be Ali?

ARIA

Yeah, and where did she come from?

Spencer gives Emily a wary look.

SPENCER

Have you told Ali about this?

EMILY

No. I haven't talked to her at all. I wanted to tell you guys first.

SPENCER

My mom said Ali's only been out of prison for a few weeks. I don't know if it's a good idea to burden her with this now, too.

Everyone nods in agreement...except Mona.

MONA

Okay, I have to say, on the "traumatic experience" scale, Ali ranks pretty low, comparatively.

There's a pause as this sinks in.

HANNA

She has a point.

ARIA

Anyway, we have to tell her something, don't we? We just found out that "A" is someone in her family.

EMILY

Jason's twin.

SPENCER

Maybe. We don't know anything for sure.

HANNA

Yeah, which is why we need to talk to her! Maybe Ali knows who that little blonde kid from that video is.

Emily heaves a SIGH of resignation.

EMILY

I'll see if she wants to meet up tomorrow. We can ask her about Charles then. I don't want to have that conversation over text.

Mona's phone buzzes. She reaches for it.

MONA

Speaking of texts, that's my mom. She wants me to come home.

She hops off of the bed and starts for the door.

ARIA

Talk to you later.

EMILY

We'll let you know when one of us hears from Ali.

Mona lets herself out. As soon as the door shuts behind her, a noticeably tense silence settles over the room. The girls exchange awkward glances. Aria attempts to break the silence with a joke.

ARIA

Well, I never thought things would be less awkward with Mona around.

No one laughs. Emily attempts to smile. It's Spencer who finally addresses the elephant in the room.

SPENCER

(quietly)

We're going to have to talk about what happened sometime.

Aria goes rigid. Hanna and Emily shift uncomfortably.

HANNA

Spence, we just got out of that place. Can't we just take a second to breathe?

EMILY

I'm with Hanna. Even thinking about it is bad enough.

ARIA

Hey, why don't we just...order a pizza or something. Maybe we can watch a movie tonight?

Something inside of Spencer seems to snap at Aria's words. She whirls around, suddenly angry.

SPENCER

Yeah, Aria, great idea. Let's order out and watch a chick flick and pretend that everything is all sunshine and roses, like nothing ever happened.

EMILY

Spencer.

SPENCER

No! If you guys want to just ignore the fact that we were forced to choose between torturing ourselves or each other down in that place, then by all means, go ahead and pretend the whole thing was just a bad dream. I've barely gotten a minute of sleep since we got out of there, so I guess I don't have the same luxury.

Aria, Hanna, and Emily stare at her, aghast. Aria's face has gone sheet white. Hanna looks sick to her stomach.

SPENCER (CONT'D)

When you all want to face reality, you know where to find me.

She EXITS, slamming the door to Emily's bedroom behind her, leaving her friends in a state of shock.

EXT. RIVER ROAD PLAYGROUND - DAY

ALISON walks across crunching leaves down the path that leads to the playground, which is marked with a sign that reads "RIVER RUN PLAYGROUND." She gazes around as she passes a rusty merry-go-round and a metal slide, pulling her jacket tighter around herself. She glances down at her phone.

CLOSE-UP on Alison's phone. The message on the screen reads: _"Meet me at the place where land meets water. 4 pm."_

Alison's gaze focuses on a figure sitting, facing away from her, on one of the swings. It is a woman with dark hair and all black clothing. Alison smiles as she approaches.

ALISON

You figured out my message.

She puts her hand on the woman's shoulder. The woman twists around on the swing - it is CECE DRAKE, wearing a dark wig.

CECE

Of course I did. It's like I told you. We think alike.

ALISON

That's exactly why I reached out. I need your help.

End of Act One.

ACT TWO

EXT. RIVER ROAD PLAYGROUND - DAY

Alison and CeCe sit side-by-side on the swings. CeCe has removed the wig but holds it in her lap, at the ready. The playground is completely deserted, but she's still a touch jittery.

ALISON

I wasn't sure if you'd even be in the area.

CECE

You're lucky. I don't stay in one place for too long. I've been hanging around Philly for the past few weeks. Next I think I'll head to the coast, see the ocean.

ALISON

So you think the police are still looking for you?

CeCe lets out a snort of disbelief.

CECE

For the murder of a small town detective? Of course not. But that doesn't mean I'm about to start throwing myself parades with neon signs spelling out my name.

(a pause, then)

So. What's so serious that you had to call me out of hiding?

Alison takes a breath, readying herself.

ALISON

My friends were kidnapped last month. They just got away from the creep a few days ago.

CeCe shakes her head, but her expression doesn't waver.

CECE

I know.

ALISON

How?

CECE

Hello? Five teen girls kidnapped and held in some freaky bunker, including one who was supposed to be dead? Not only was it all over the news in Philly, it's also all anyone's been talking about. Any idea who did it?

ALISON

That's why I'm here. I think I might have a lead.

CeCe leans forward, her attention fully grabbed.

CECE

Do tell.

ALISON

I'm pretty sure this whole thing is connected to someone from my family. Someone I didn't even know existed. And when I asked my dad about it, he lied right to my face. I'm sure of it.

CECE

Kidnapped friends and a secret relative? God, I thought my life was like a soap opera.

ALISON

Don't be so dramatic.

They share a smile at the inside joke, but the mood quickly turns serious again.

ALISON (CONT'D)

I found this picture, of me and Jason as kids...and someone else. A boy.

CECE

And let me guess. Your dad has no idea who you're talking about?

ALISON

I haven't confronted him with the picture yet. I wanted to talk to you first. If there's anyone who can help me figure out how to manipulate him into telling me the truth, it's you.

CeCe raises her eyebrows. She's flattered.

CECE

Are you saying I'm sneaky?

ALISON

The sneakiest person I know. Besides me.

(seriously)

Look, I haven't seen my friends since they've been back. And I really want to have information that can help them when I do. I need tactics.

CECE

Oh, you've definitely come to the right person.

ALISON

Here. Here's the picture.

She pulls the folded photograph out of the pocket of her jacket and hands it to CeCe. CeCe unfolds it and holds it up to examine. As she takes in the face of the little blonde boy, her expression begins to soften. Her mouth twitches. Tears actually begin to fill her eyes.

ALISON (CONT'D)

CeCe? What's wrong?

For a moment, CeCe is so overcome with emotion that she can't speak. Her eyes are locked onto the picture. After a beat, she takes in a quick breath and composes herself, blinking away the tears. She smiles at Alison, who clearly did not miss what just happened.

CECE

Cute kid. But we've gotta make this quick, the next bus to Philly's at five thirty.

INT. MARIN HOUSE - KITCHEN - EVENING

Hanna sits at the kitchen counter, a chocolate pudding open in front of her. She taps her spoon absentmindedly against the container as she stares out at nothing, lost in thought.

INT. THE DOLLHOUSE - FLASHBACK

The tapping of the spoon morphs into the ticking of a clock. Hanna sits at a metal table in an otherwise empty room. She's sobbing and and glaring up at the surveillance camera near the ceiling. An automated voice blares -

AUTOMATED VOICE

Choose one, or accept your punishment.

Hanna shakes her head desperately. We see a CLOSE-UP of the three switches on the table in front of her. Each one is accompanied by a photograph of Spencer, Aria, and Emily.

INT. MARIN HOUSE - KITCHEN - EVENING - PRESENT DAY

Hanna crushes the empty pudding cup in her hand and tosses it aside. She grimaces, holding her head in her hands as the memory overtakes her.

INT. THE DOLLHOUSE - FLASHBACK

Hanna stares down at the three switches, in agony.

AUTOMATED VOICE

Choose one, or accept your punishment.

Her gaze lifts to the towering box of cupcakes that are sitting prettily on the table behind the switches.

INT. MARIN HOUSE - KITCHEN - EVENING - PRESENT DAY

Hanna grabs the entire pack of puddings from the refrigerator. She slams it down on the counter. As she rips one from the pack, a tear slides down her cheek.

INT. THE DOLLHOUSE - FLASHBACK

Hanna pulls the wrapper off of a cupcake and takes a bite.

INT. MARIN HOUSE - KITCHEN - EVENING - PRESENT DAY

She rips the lid off of a pudding and takes a large spoonful.

INT. THE DOLLHOUSE - FLASHBACK

Chocolate is smeared on Hanna's lip. The stack is half gone. She looks defiantly at the camera as she shoves yet another into her mouth.

INT. MARIN HOUSE - KITCHEN - EVENING - PRESENT DAY

Hanna tosses another empty cup aside. She rips the lid off of yet another. The stack of empty cups piles up.

INT. THE DOLLHOUSE - FLASHBACK

Hanna falls back against the chair. The table and floor are littered with cupcake wrappers. She's eaten them all, and the shame and disgust are written plainly on her face.

HANNA

Happy now?

Suddenly, a sick look crosses her face. She leaps up from the table and runs from the room, a hand over her mouth.

INT. MARIN HOUSE - BATHROOM - EVENING - PRESENT DAY

Hanna falls to her knees in front of the toilet. She coughs, clutching her stomach. There is pain on her face, but it's not only physical.

Faintly a DOOR OPENS and CLOSES.

CALEB (O.S.)

Hanna?

Hanna sits back, startled. Tears run down her face. She looks around wildly, then takes a deep breath, wipes her eyes, smooths back her hair, and stands.

INT. MARIN HOUSE - UPSTAIRS HALLWAY - EVENING

CALEB has just reached the top of the stairs. Hanna meets him in the hallway.

HANNA

Hey.

He takes in her disheveled appearance and red eyes with obvious concern.

CALEB

Are you okay?

Hanna can't bring herself to tell him the truth.

HANNA

As good as I can be.

She steps forward before he can protest, wrapping her arms around him.

HANNA (CONT'D)

Can you please sleep over tonight? I can't be alone in that room.

He pulls away just enough to look down at her. His gaze is equal parts loving and sad. He kisses her forehead.

CALEB

I'll never leave your side again if you don't want me to.

INT. MONTGOMERY HOUSE - ARIA'S BEDROOM - EVENING

Aria sits at the window, her knees pulled up to her chest as she gazes out at the sky. She pulls out her phone and looks at the unopened message from EZRA on the screen: _"I'm so glad you're safe. Are you holding up okay?"_

She sighs and sets down the phone, unable to bring herself to answer.

ELLA (O.S.)

Aria, Spencer's here to see you!

Aria's body goes rigid. Her eyes flit nervously to the door a we enter a flashback -

INT. THE DOLLHOUSE - FLASHBACK

An exhausted and pale Aria sits in the same chair that we just saw Hanna in.

AUTOMATED VOICE

Choose one, or accept your punishment.

Aria stares down at the switches before her, then to the side, where a coffin-sized box is leaning against the wall. She's shaking.

AUTOMATED VOICE

Choose one, or accept your punishment.

Aria's breathing quickens with fear. She's sweating, terrified at the thought of getting into the box. She presses her hands over her ears to block out the voice, in full panic mode. Then her resolve cracks, and she grabs the switch with Spencer's photograph and pulls. A piercing SCREAM fills the air.

INT. MONTGOMERY HOUSE - ARIA'S BEDROOM - EVENING - PRESENT DAY

Aria goes pale at just the memory. She's still staring off in thought when the door OPENS and Spencer ENTERS.

SPENCER

Hey.

Aria jumps in surprise.

ARIA

Hey. What are you doing here?

Spencer lurks near the doorway. She's guilty and self-conscious. There is a clear tension between them.

SPENCER

I wanted to own up. Apologize. I shouldn't have blown up at you guys like that. You seemed the most affected by what I said.

ARIA

Yeah, well, we're all trying to deal with it the best we can.

SPENCER

It doesn't matter. It was still wrong, and I'm sorry. I guess all those nights with no sleep finally caught up with me.

She sits down beside Aria with a sigh. The apology did nothing to ease the tension, and sitting there beside her friend, the guilt is practically eating Aria alive.

ARIA

You're not the only one who needs to apologize.

Spencer turns to her, visibly confused.

SPENCER

Are you talking about yourself?

Aria's tempted to run. But there's no going back now.

ARIA

Down in that place, when Charles made us choose between hurting ourselves or each other, I...

She can't go on, but Spencer doesn't need her to. A look of realization crosses her face.

SPENCER

You didn't choose yourself.

ARIA

No, I did! I mean, some of the time. But once it started happening every day, I just...I wasn't always strong enough. He would force me to get in this box, this coffin, practically, and every single time, I would flash back to the Halloween train, and Garrett's body. I could smell it, Spence.

She's getting emotional at just the thought.

ARIA (CONT'D)

There were days where I knew that if I picked my own punishment, I would crack. So I had to choose one of you. And I am so, so sorry.

Spencer sits quietly, processing this. Her face is expressionless.

SPENCER

I get it. It was all about survival down there. But it's not really me you need to apologize to.

ARIA

What do you mean?

SPENCER

Well, I wasn't the one you chose to torture.

Now it's Aria who's confused.

ARIA

Spence...yes, you were. I don't remember if it was electrocution, or a day without food, or what, but I did pick you. A few times. I thought you'd be strong enough to handle it.

For a brief moment, Spencer seems flattered by the sentiment. But then her features settle into confusion that mirrors Aria's.

SPENCER

I was never electrocuted, Aria. Or starved. I wasn't allowed to sleep, but that's because that was my own punishment for not choosing one of you.

ARIA

But I did pick you. I heard you, I heard your scream.

They stare at each other, baffled.

SPENCER

Charles was just making you think you were torturing us.

ARIA

Why would he do that? What's the point?

SPENCER

To try and tear us apart.

There's a beat to let this sink in before we reach the -

End of Act Two.

ACT THREE

INT. FIELDS HOUSE - LIVING ROOM - EVENING

Emily is curled up on the couch, a blanket draped over her shoulders and her laptop on her legs. The screen is open to a local news article about the girls' return. She zooms in on a paragraph describing a mysterious girl who was discovered in the woods shortly after, and speculation that she may be connected to the kidnapping. Emily frowns thoughtfully, then returns to the search and clicks on a new article.

INT. THE BREW - EVENING

Alison takes two coffees with whipped cream from the SERVER behind the counter.

ALISON

Thanks.

She carries the coffees across the room to where JASON is seated at one of the couches. The area is otherwise deserted. Alison sinks down beside him and hands over one of the coffees.

ALISON (CONT'D)

Don't worry, it's black under all the whipped cream.

JASON

I know we didn't come here for some sibling bonding. What's going on, Ali?

Alison takes a long sip of her drink. Despite the anxious crease in her forehead, she's completely composed.

ALISON

I found something the other day. Something about our family.

JASON

Don't tell me I'm related to any of your other friends.

ALISON

(dryly)

Not that I know of. But this might be equally daytime television worthy.

She pulls the photograph of the three children out of her purse and holds it tightly.

ALISON (CONT'D)

This picture was taken in what looks like the same room my friends were held captive in.

Jason gives her a strange look. She hands the photograph to him.

ALISON (CONT'D)

Jason, that's you and me. But who's that other boy?

Jason barely hears her. He stares down at the picture with a look of shock, bordering on disbelief. A long beat passes.

ALISON

Hello? Earth to Jason?

Jason finally lowers the photograph. He looks like he's just seen a ghost.

JASON

Charlie.

The word comes out in a whisper. Alison leans forward.

ALISON

What did you just say?

JASON

Charlie. That's his name.

Alison stares. This is a break-through.

ALISON

Who is he?

JASON

He was my imaginary friend.

INT. MARIN HOUSE - KITCHEN - EVENING

Ashley has just finished cleaning up and is in the process of taking out the trash. She opens the garbage can and is faced with half a dozen empty pudding cups.

Ashley leans closer, visibly caught off-guard.

CALEB (O.S.)

Mrs. M?

Ashley startles and straightens as Caleb ENTERS from the hallway. He gives her a confused smile.

CALEB (CONT'D)

Drop something in there?

Ashley steps back, and the garbage can lid falls closed.

ASHLEY

Where's Hanna?

CALEB

Asleep. I just came down to grab something to drink.

ASHLEY

Thank you for staying with her. I know she feels safer when you're around.

Caleb smiles and grabs a Coke out of the fridge. Ashley glances worriedly back down at the trash. Caleb notices.

CALEB

What's wrong? You look spooked.

Ashley pauses, considering, then opens the can again.

ASHLEY

I just found every single one of the pudding cups I bought two days ago in the trash. Did Hanna eat all of these?

Caleb peers down at the evidence, then back up at Ashley. The same concern that's written all over her face flits briefly across his. He glances back toward the stairs, then makes a decision and puts on his poker face.

CALEB

Most of those were me, actually. I've barely been able to eat since Hanna was kidnapped, so I guess when she got back I went a little crazy. I'll buy some more tomorrow.

He lifts his soda can briefly, then EXITS back down the hallway and up the stairs. Ashley looks after him. The lie was almost convincing.

INT. HASTINGS HOUSE - GREAT ROOM - MORNING

Spencer descends the stairs, hazy and red-eyed after another sleepless night. Veronica is seated on the sofa. She rises when she sees Spencer, her face set and just short of angry. She's clutching the orange pill bottle in her hand. Spencer sees it and freezes on the stairs.

SPENCER

Where did you get that?

VERONICA

So you're not even going to try and deny that it's yours.

SPENCER

Well, it does have my name on it.

The joke is not appreciated. Veronica looks down at the pills in disgust.

VERONICA

Spencer, this is anti-anxiety medication.

SPENCER

Yes, that the doctor recommended.

VERONICA

So you decided to go behind my back and hide this from me.

Silence. Spencer looks away. Anger is growing in them both.

SPENCER

It's just something to help me sleep.

VERONICA

No. I'm sorry, Spencer, but we're not going down this path again.

She sets the pill bottle down on the coffee table - hard. Spencer flinches. She can't believe this is happening.

SPENCER

Are you kidding?

VERONICA

You have a history of addiction, sweetie. I don't want you on any medication that you could build a tolerance to.

SPENCER

That was a completely different situation.

VERONICA

We're not taking any chances here. The last thing we need right now is another problem. You're just going to have to trust me on this one.

She drops the pills into her purse and zips it closed - an act of finality. Spencer is aghast.

SPENCER

I need those to sleep!

VERONICA

Medication is the last thing you need, Spencer. I'll put a call in with your regular doctor this afternoon. I'm sure there's something natural you can try.

She EXITS, patting Spencer on the shoulder on her way up the stairs. Spencer looks after her, furious. Then her eyes shift to her mother's purse on the coffee table.

EXT. ROSEWOOD - RESIDENTIAL STREET - DAY

Emily runs down the sidewalk at an even, brisk pace. Her earbuds are in and her face is slick with sweat. Her heart is pumping with adrenaline, but she welcomes it. Just after she rounds the corner, a car door SLAMS, and Emily stumbles as she's jolted back into the past.

EXT. THE DOLLHOUSE - FENCED-IN CLEARING - FLASHBACK

The steel door to the bunker falls closed with a SLAM, trapping the girls outside.

INT. THE DOLLHOUSE - EMILY'S BEDROOM

Emily pounds against the window, yelling for her mom, her friends, anyone, as the walls seem to close in around her.

INT. THE DOLLHOUSE - ELSEWHERE

Emily is seated in the same chair that we've seen Hanna and Aria in. She sobs and presses her hands to her ears as she stares hopelessly down at the switches.

EXT. ROSEWOOD - RESIDENTIAL STREET - DAY - PRESENT DAY

Emily tilts her head down and runs faster. She runs to block out the memories, to escape the past. It works until her phone begins to CHIME. She slows to a stop and bends over at the waist, taking a moment to catch her breath before pulling out her phone.

CLOSE-UP on Emily's phone, and the name on the screen: PAIGE.

Emily is shaken. She stares at the screen, her finger hovering over the answer button. For some reason, she can't bring herself to press it. She rejects the call and slides her phone back into her arm band. Then she looks up and GASPS.

Mystery Girl is standing right in front of her.

End of Act Three.

ACT FOUR

EXT. ROSEWOOD - RESIDENTIAL STREET - DAY

Emily takes a few slow steps backward. She stares warily at Mystery Girl, who is still wearing the hospital gown. Her hair is stringy and her eyes are wide and a bit wild.

MYSTERY GIRL

I didn't have any other clothes.

EMILY

What?

MYSTERY GIRL

They took away my clothes in the hospital. This is all I have.

EMILY

Why aren't you still there? In the hospital?

MYSTERY GIRL

I left. No one stopped me.

Her bluntness would be refreshing if it wasn't so unsettling. Emily takes a cautious step forward.

EMILY

Were you down there? In the bunker?

MYSTERY GIRL

I was the first doll.

Emily sucks in a breath. She's getting through.

EMILY

Who are you?

MYSTERY GIRL

(in frustration)

I already told you. I'm Alison!

EMILY

No. You're not. You're not Alison, okay?

MYSTERY GIRL

You don't believe me. No one believes me.

Emily looks past her. Down the street, a police car rolls slowly up to the stop sign, then idles. Emily reaches out and gently takes the Mystery Girl's arm.

EMILY

Let's go back to my house. We can talk more there.

MYSTERY GIRL

You have to believe me.

Her voice has lost some of its conviction. Emily looks worriedly back at the police car, then leads her away.

INT. MARIN HOUSE - HANNA'S BEDROOM - DAY

Hanna is in the process of pulling down a large painting from her wall. Her face is set and determined. Across the room, Aria and Mona sit side-by-side on the sofa bed, watching her.

HANNA

God, this thing is heavy. I don't even remember putting it up.

She finally pulls it down with a grunt. She sets it down with a heavy clunk, then immediately grabs a cardboard box from the bed and begins removing knick-knacks from the shelf in the corner. Aria and Mona are concerned.

ARIA

Hanna, maybe you should slow down.

MONA

Yeah, you used to love that painting.

HANNA

Not anymore. I want it all out of here. As soon as possible.

She tries to balance the box in one hand, and nearly drops it. She lets out a grunt of frustration

HANNA (CONT'D)

Can one of you come and hold this?

Aria exchanges a glance with Mona, then heaves herself up and takes the box from Hanna. She holds it steady as Hanna begins dumping in the contents of the shelves.

MONA

I'm so glad I was trapped in Alison's room, not my own.

HANNA

Yeah, consider yourself lucky. I can hardly even sleep in here.

She slams a ceramic bowl into the box with so much force that it cracks. Aria winces.

ARIA

I get it, okay? Being in my room brings back memories for me, too. But you don't have to go all total annihilation. Why don't we go to the mall, pick out some new bedding and furniture?

HANNA

(dripping with sarcasm)

Yeah, and then maybe we can stop for frozen yogurt and clothes and college applications.

Mona stands and walks over to them.

MONA

Come on, Han. We could all use a little normalcy, don't you think?

HANNA

Normalcy went right out the window in the dollhouse. Except there weren't any windows in that hellhole.

Mona and Aria don't have a response - she has a point. Nothing truly feels normal anymore.

CALEB (O.S.)

Hey.

The girls turn. Caleb stands in the doorway, his arms folded. His expression is conflicted.

CALEB (CONT'D)

Hanna, can we talk for a second?

HANNA

Sure.

She shoots one last look at the girls, then follows him into the HALLWAY. Caleb seems even more disgruntled.

CALEB

Why is Mona here?

HANNA

Because when you were trapped in an underground bunker with someone, the past doesn't really seem that important anymore. Did you seriously just pull me out here over this?

CALEB

No.

He pauses, bracing himself, then takes the plunge.

CALEB (CONT'D)

Your mom found empty pudding cups in the trash. A lot of them.

Hanna's expression slowly morphs into realization. She's been caught.

HANNA

Oh.

CALEB

What's going on, Hanna?

HANNA

What do you mean, "what's going on?" I was hungry, I had a snack. What, is that a crime?

CALEB

A snack is an ice cream sandwich. This was...

He hesitates, glancing back toward Hanna's bedroom. Through the door, we see Aria and Mona sitting on the edge of the bed. They're poking through the box of knick-knacks, but are clearly listening in. Caleb shakes his head and leads Hanna further down the hallway, out of earshot.

CALEB (CONT'D)

(quietly)

Last year, you told me that before Alison went missing, you used to eat whenever she made you feel bad, or out of control.

Hanna crosses her arms. She's on guard, alert.

HANNA

So?

CALEB

So I'm worried that you're falling back into those old habits. After everything you guys just went through...

HANNA

I can't believe you're bringing this up. Yes, I used to eat my feelings. When I was fifteen. I was a kid, I didn't know any better.

CALEB

It's not about knowing better, it's about -

Hanna is beginning to get flustered. She backs up toward her room.

HANNA

I'm not having this conversation! You didn't know me back then, you have no idea what you're talking about. And I have enough to worry about right now without you analyzing my every move.

(a long beat)

I went through enough of that in the dollhouse.

Caleb is visibly stunned. Hanna spins around and storms back down the hallway. She leans into the doorway to her bedroom.

HANNA (CONT'D)

I changed my mind. Let's go to the mall.

INT. DILAURENTIS HOUSE - LIVING ROOM - EVENING

Kenneth sits on the sofa, a newspaper open in front of him. The TICKING of the clock is the only sound that cuts through the peaceful silence - until it's interrupted by a THROAT CLEARING.

Kenneth looks up, startled. Alison and Jason stand above him, their expressions set. Alison's arm is extended. In her hand is the photograph of the three children, which is positioned directly in front of Kenneth.

ALISON

Care to explain?

Kenneth lowers the newspaper slowly.

KENNETH

What is that?

He leans forward and peers more closely at the photograph. His eyes widen. The newspaper slips from his lap and flutters to the floor.

KENNETH (CONT'D)

Where did you get this?

ALISON

I found it hidden away in the attic. The perfect place to stash something you don't want anyone to find.

JASON

You and mom always told me that when I was seven years old, I had an imaginary friend, a blond-haired boy named Charlie who I pretended was my twin.

(with a dry laugh)

Turns out it's because he really was my twin.

Kenneth is silent, speechless. Alison's anger bubbles over.

ALISON

Don't you have anything to say? Or are you just waiting until you've crafted yet another perfect lie?

JASON

We're not leaving this room without answers, Dad. Real ones. Who is Charlie?

Kenneth runs a hand over his face. He looks suddenly much older.

KENNETH

Sit down.

Alison and Jason exchange a glance, then sink down into the chairs that face the sofa.

KENNETH (CONT'D)

Charles - Charlie - was our third child. Jason's twin brother.

Jason sits back, processing this. At the same time, Alison leans forward, determined now that she's finally getting somewhere. Her eyes blaze with anger.

ALISON

You kept our own sibling a secret from us, all this time. Why?

KENNETH

We knew from a young age that Charles was troubled. He had outbursts that were unlike anything we'd ever seen. And when you came along, Ali, we couldn't be too careful. Your mother and I, we were afraid every second that he might seriously hurt you. So we made the decision to have him committed to Radley.

INT. RADLEY SANITARIUM - DAY - FLASHBACK

Sunlight streams in through the windows, but the light does little to brighten the dim reception area. JESSICA kneels down in front of CHARLES (8). He seems small in the large, drab space, but his expression is laced with fear and confusion.

CHARLES

I don't want to stay here.

Jessica reaches out and strokes Charles' hair comfortingly...pityingly.

JESSICA

Sweetheart, we've talked about this. This is what's best. For you. For all of us.

There's deep sadness in her expression. Charles recoils.

CHARLES

I want to go home. I promise I won't do it again.

KENNETH

(gruff but emotional)

This isn't the first time you've made that promise. We can't keep taking that chance.

JESSICA

Just see how it goes for a few weeks, alright? We'll be back to visit you first thing on Saturday. I love you, Charlie.

She reaches for her son, but he pulls away, shaking his head in fear.

CHARLES

Please, Mom.

Two NURSES appear from the doorway that leads to the patient rooms. They each take one of Charles' arms and began pulling him away.

CHARLES

Please!

Jessica stifles a sob. She turns her head away, and Kenneth watches forlornly as a sobbing Charles is led away.

INT. DILAURENTIS HOUSE - LIVING ROOM - EVENING - PRESENT DAY

There's a stunned silence. Jason drops his head into his hands.

JASON

You sent away our brother and erased every trace of his existence...because of what? Temper tantrums?

KENNETH

We didn't have any other choice. We tried everything - therapy, homeschooling. But it wasn't enough. He became aggressive, violent.

Alison sits back sharply in realization.

ALISON

He did try to hurt me, didn't he?

Kenneth is too distraught to respond. He nods. Alison and Jason look at each other. Tears glisten in their eyes.

ALISON (CONT'D)

Is Charles still in Radley? Has he been there all these years?

KENNETH

No.

(a long, torturous beat)

He's dead.

INT. FIELDS HOUSE - HALLWAY - EVENING

Emily hangs a towel on the back of her bedroom door. Her hair hangs wet down her back, fresh out of the shower. She holds her phone to her ear.

EMILY

She was just wandering around Rosewood, still in the hospital gown and everything.

ARIA (O.S.)

Spooky.

EMILY

Yeah, I'll say. I convinced my mom to let her stay the night before calling the hospital. But I think she's a little freaked out.

ARIA (O.S.)

Fake Alison, or your mom?

EMILY

Both. I'll see you at Spencer's in half an hour, okay?

She hangs up and walks DOWN THE STAIRS. Before she reaches the bottom, she looks into the LIVING ROOM and freezes. BARRY MAPLE sits beside the Mystery Girl on the sofa. She's cowering against the arm of the couch. Pam sits across from them, and Toby stands nearby.

Emily descends the rest of the stairs, alarmed. Pam's back is to her, and Barry is intent on writing in a small notepad. Only Toby notices her. Emily tugs him aside.

EMILY

(in a whisper)

What's going on? Is everything okay?

TOBY

We've been doing research at the station since you guys were found. We just finished putting the pieces together tonight.

EMILY

Wait. You identified her?

TOBY

Found a picture online, from a news article posted a few years ago. Her name is Sara Harvey.

We PAN IN on Emily's shocked face as we -

CUT TO BLACK.

End of Act Four.

ACT FIVE

INT. HASTINGS HOUSE - KITCHEN - EVENING

Spencer, Aria, Hanna, and Emily are gathered around the kitchen island. They're all leaning forward, intent and serious.

SPENCER

Sara Harvey.

HANNA

That girl from Cortland was trapped down there with us?

ARIA

We all looked at those same articles just a few months ago. How didn't we recognize her?

EMILY

I looked her up again after Toby filled me in. She looks so different than she did three years ago, she might as well be a totally different person.

Spencer's eyes narrow. Her brain is obviously already whirring with theories, but her eyes are tired.

SPENCER

Sara went missing the day after Alison did, right? So does that mean she's been down in Charles' bunker this whole time?

EMILY

Going missing twice would be way too much of a coincidence.

ARIA

Oh my god. Had Charles had planned on locking us in the dollhouse even way back then? Was Sara like some kind of trial run?

The thought disturbs everyone.

SPENCER

The yellow shirt, "A" forcing us to wear our old clothes when we were down there...it all goes back to Alison's disappearance. Something must have happened that night, something that Charles can't move on from.

HANNA

You mean something that started the "A" game?

EMILY

But Mona was "A" back then. And we know that Ali was already getting texts way before that night.

SPENCER

That night didn't start this "A's" game.

Aria nods, catching on.

ARIA

It changed it.

An unsettling silence passes over the girls as they process this. It's Spencer who breaks the silence.

SPENCER

Where is Mona?

HANNA

I don't know. When I called her cell, her mom answered and told me she couldn't talk.

A KNOCK sounds at the back door, and everyone jumps, already jittery. Spencer glances anxiously at the others, then hesitantly goes to answer it. She pulls open the door cautiously.

Alison stands at the other side. Spencer's eyes widen at the sight of her.

SPENCER

Ali.

She steps back, her face a mixture of emotions. Alison steps hesitantly INSIDE. Her eyes meet Spencer's, then drift over to the other girls, who are watching her with unreadable expressions from the kitchen.

ALISON

Hey.

There's a lot wrapped up in that one word. The atmosphere is awkward. No one is quite sure how to react.

ALISON

(somewhat awkwardly)

I'm so glad you guys are okay.

EMILY

We meant to come and see you, we just -

ALISON

No. You don't have to explain. I understand why you didn't.

The acknowledgment of the past relieves some of the tension. But Alison's expression is still pained. The other girls exchange glances.

ARIA

Ali, there's another reason why none of us have reached out. While we were down in - that place - we found out a few things. About your family.

EMILY

We didn't know how to tell you, but we think that you have another brother.

Alison nods slightly.

ALISON

Charles.

The rest of the tension in the air evaporates as the girls react with surprise. Spencer takes Alison's arm and pulls her over to the island.

SPENCER

You know about Charles?

ALISON

It's a long story. But yeah, I do. He was sent to Radley when he was eight years old. Leave it to my parents to choose their image over their own kid.

ARIA

Radley. Makes sense.

ALISON

What?

The girls exchange uncomfortable glances. This is not going to be an easy conversation.

HANNA

Ali...we think that Charles is "A."

They wait with bated breath for Alison's reaction, but she barely gives one. She lets out a breath that's almost a laugh.

ALISON

No, he can't be.

ARIA

Why not?

ALISON

Because Charles is dead.

SPENCER

What?

EMILY

No, he can't be.

ALISON

He killed himself. When he was twelve years old.

Her words practically reverberate around the room. The girls are horrified. It's Hanna who finally breaks the silence as only she can -

HANNA

Then who the hell is doing this to us?

INT. RADLEY SANITARIUM - NIGHT

Leona stands at the receptionist desk, filling out paperwork. Mona is beside her. Her arms are wrapped around herself, and she looks exhausted and jumpy.

Leona's hand hovers above the signature line. She pauses.

LEONA

Are you sure you want to do this? We could always just take a trip, get out of Rosewood for a few days.

Mona gives a determined, sad shake of her head.

MONA

Trust me, Mom. I think a few days here will be just what I need to feel like myself again.

She gives her mother a shaky hug as a NURSE ENTERS. She touches Mona's arm.

NURSE

Come on, I'll take you to your room.

MONA

See you soon.

She takes a deep breath as she gives Leona one last look, the picture of a broken girl in need of treatment. Then she turns and begins to follow the nurse toward the doors. As soon as her back is to her mother, she smiles.

End of Act Five.

**Notes for the Chapter:**

> Next on Pretty Little Liars: Mona gets help from an unlikely source in her search for answers at Radley. As the girls return to school, Hanna and Aria's emotional baggage becomes too much for them to ignore. Spencer and Emily seek out information about the mysterious Sara Harvey.


	4. 6x04 - "Where the Demons Hide"

**Notes for the Chapter:**

> Feedback is always appreciated!

SEASON 6, EPISODE 4: "WHERE THE DEMONS HIDE"

TEASER

FADE IN:

EXT. RADLEY SANITARIUM - DAY

We PAN OVER Radley's main gates and plaque, as ominous as ever.

INT. RADLEY SANITARIUM - RECEPTION AREA - DAY

CLOSE-UP of ARIA handing spiky, triangle-shaped earrings over to a NURSE.

NURSE (O.S.)

Your friends are here to see you, dear.

INT. RADLEY SANITARIUM - DAY ROOM - DAY

MONA is curled up on one end of the sofa, reading a book. At the sound of the nurse's voice, she shuts it and looks up to see Aria, SPENCER, EMILY, and HANNA walking toward her. She immediately stands, and Aria and Hanna rush forward to hug her.

ARIA

God, Mona.

HANNA

You scared the crap out of us. Your mom called and told me you were committed.

MONA

I wasn't committed. I'm here by choice.

Spencer reaches out and touches her arm in concern.

SPENCER

What happened?

Mona looks down at Spencer's hand. She smiles a little.

MONA

I have to say, this isn't exactly the same response I got from you all the last time I ended up here.

The PLLs exchange glances.

EMILY

A lot's changed since then.

Mona takes a moment to let this sink in, then continues -

MONA

I told my mom that I was feeling panicky and needed a few days of rest in here.

ARIA

But that's not the truth?

Mona glances around, then gestures for them to move to the side. The five girls sit down at one of the tables near the back of the room, out of the way.

SPENCER

Mona, what's going on?

MONA

(whispering)

I needed to get in here so I could look around.

The PLLs glance around at each other again - this time dubiously.

HANNA

Look for what?

MONA

A record of Charles' death, for one thing. If Mr. D. told Alison the truth and he really did commit suicide while he was in here, Radley would have to have documentation of it.

ARIA

God, I didn't even think that he might not have told the truth.

Mona gives her a somewhat irritated look.

MONA

Seriously? At this point, I always assume that everyone's lying.

(a pause, then)

I also think there might be a connection between this place and the bunker.

EMILY

Radley and the dollhouse?

SPENCER

What makes you say that?

MONA

Just a similar vibe. The feeling of being watched, someone controlling and analyzing your every move.

HANNA

Uh, that's because we were being watched.

ARIA

Yeah, I mean, I get looking for a connection anywhere you can find one, but digging around Radley for answers? That seems like kind of a stretch.

MONA

Look, none of you were locked in this place. I was. And I don't think it's a coincidence that the feeling I had when I was here was the exact same feeling I had down in that place. It's like Charles took his inspiration from here.

Spencer nods suddenly.

SPENCER

I agree. When you lay it all out like that, I know what you mean. I think it's worth checking out.

EMILY

So what are you looking for, exactly?

MONA

I don't know. But I'll know it when I find it.

EXT. FIELDS HOUSE - FRONT YARD - DAY

Emily slams the door to her car and starts up the walkway. She's busy putting her keys back into her purse, and doesn't notice that ALISON is standing on the front porch until she's almost to the steps.

ALISON

Hey, Em.

Emily is startled. She takes a step back, then steadies herself and walks up onto the porch.

EMILY

Hey. What's going on?

ALISON

We didn't really get much of a chance to talk last night. I wanted you to know how happy I am that you guys got out of there.

Emily folds her arms. She is obviously uncomfortable.

EMILY

Yeah, it was a pretty wild few weeks.

ALISON

Are you holding up okay?

EMILY

About as well as you could expect. It's not exactly a walk in the park, but, you know, we're just trying to get through it.

ALISON

You will, Em. I know how strong you are.

Emily just nods and looks away. Alison notices the Radley visitor's badge still clipped to Emily's shirt. She eyes it.

ALISON (CONT'D)

You were at Radley?

EMILY

Uh, yeah. Mona's staying there for a few days. We went to check up on her.

ALISON

Really? What, has she cracked already?

Emily flinches. Alison catches herself.

ALISON (CONT'D)

Sorry. I didn't mean it like that.

It's too late - the damage has already been done. Emily's posture is stiff, guarded.

ALISON (CONT'D)

So is Mona okay?

Emily pauses. She battles with indecision for a moment, then decides to tell Alison the truth.

EMILY

She's fine - I mean, as fine as we all are. She thinks there might be some kind of connection between Radley and the bunker, so she's checking it out.

Before Alison can respond, Emily moves past her toward the door.

EMILY (CONT'D)

I have to go, okay? I told my mom I'd run some errands with her today.

ALISON

Okay. Talk to you soon?

Emily opens her mouth, then just nods before EXITING through the front door. It shuts behind her, and Alison stares at it, deep in thought.

End of Teaser.

ACT ONE

INT. CALEB'S CAR - ROSEWOOD HIGH SCHOOL - ENTRANCE - DAY

Hanna and CALEB sit side-by-side in Caleb's car. The entrance to the high school looms out the window.

CALEB

Are you sure you're ready for this?

HANNA

No. But if I don't go back, I won't be able to graduate and finally leave this hellhole.

CALEB

You could always give it a few more days.

HANNA

Caleb, I was gone for over a month. My stack of overdue work is already up to my neck. It's time.

She gets out of the car before she can change her mind.

INT./EXT. CALEB'S CAR - ROSEWOOD HIGH SCHOOL - ENTRANCE - DAY

CALEB

I'll be around all day. Call me if anything happens. Anything.

HANNA

I will. Promise.

He leans over the passenger seat and they kiss.

HANNA (CONT'D)

Oh, and remember, you have to drive me over to Radley to visit Mona tonight.

Caleb turns his head to hide an eye roll, but doesn't comment.

CALEB

Yeah. Good luck.

He pulls away, and Hanna turns toward the school.

EXT. ROSEWOOD HIGH SCHOOL - ENTRANCE - DAY

She spots Spencer and Emily waiting by the front steps. As students swarm into the school around them, they whisper to each other and shoot glances at the girls.

Hanna joins them.

HANNA

Where's Aria?

EMILY

She isn't picking up. I guess she couldn't go through with coming back today.

Spencer gives a dirty look to a few whispering girls who are pointing in their direction from near the flagpole.

HANNA

I don't blame her. I feel like even more of an exotic zoo attraction than I used to.

SPENCER

Ignore them. Come on.

They start climbing the steps, making sure to stick close to each other.

HANNA

What about Ali?

SPENCER

What about her?

HANNA

Isn't she coming back to school?

SPENCER

I don't know. Apparently not today.

INT. ROSEWOOD HIGH SCHOOL - FRONT HALLWAY - DAY

Spencer, Hanna, and Emily walk down the hallway, faced with more whispers and sideways looks. Even a few TEACHERS standing in front of a classroom door lean toward each other and murmur.

EMILY

Guys, she just found out that she has a long-lost, dead brother. I'm sure school's the last thing on her mind right now.

HANNA

Well, I'm glad she's not here. I don't even know how to act around Ali right now.

SPENCER

Why, because of Charles?

HANNA

Uh, yeah, that's one reason.

EMILY

I feel the same way. I can't believe Ali's been dealing with all of this alone. But what do you say to someone who's entire family was just turned upside down?

The girls stop beside a row of lockers. Spencer opens hers and takes out a textbook.

SPENCER

It would be easier if we knew how, exactly, Charles is connected to "A."

HANNA

He couldn't lock us in a bunker if he's dead.

EMILY

So why was his face plastered all over the dollhouse?

SPENCER

Maybe Mona really will find some answers at Radley.

The BELL RINGS. The girls exchange glances, suddenly anxious now that the normal world is calling.

INT. THE BREW - DAY

Aria is curled up on the sofa in the back of the room. There's a pile of textbooks and papers stacked on the table in front of her.

BYRON walks over to her, a coffee in his hand. He sets it down in front of her.

BYRON

You sure you'll be alright here?

ARIA

Yep. I'm all set.

Byron sits down on the edge of the couch beside her, pushing aside a few books.

BYRON

I spoke to your principal this morning. He said that as long as you get your assignments from your teachers every week, you can finish up the year through homeschooling. You never have to set foot in that school again if you don't want to.

Aria is quiet for a moment, considering this.

ARIA

I haven't made up my mind yet. Spencer, Hanna, and Em all went back today.

BYRON

That doesn't mean you have to.

ARIA

I know. But it might help things feel normal again. At least a little.

BYRON

You don't have to decide today. I have to go down to Hollis for a few hours, but how about we meet up for lunch?

ARIA

Yeah. Sounds good.

She watches him EXIT, and is just returning to her homework when she catches sight of EZRA standing near the counter. She freezes as his eyes lift to meet hers.

INT. ROSEWOOD HIGH SCHOOL - ELLA'S CLASSROOM - DAY

Hanna, Spencer, and Emily sit among their classmates. ELLA stands in the front of the room. The words "BIG BROTHER IS WATCHING" are written on the board. Ella gestures at the phrase with the chalk in her hand as she talks.

ELLA

Even though he's one of the major symbols in the book, Big Brother represents the vagueness of the ruling party, and who really controls Oceania.

Spencer is fervently taking notes in her notebook. Emily taps her pencil against her desk quickly and nervously. She shoots a glance up at the clock.

Outside the classroom, a locker SLAMS and a group of kids laugh uproariously. Ella SIGHS and walks over to pull the door closed.

ELLA (CONT'D)

The Big Brother figure wasn't ever a real character, but a mask for the true threat to hide behind.

Emily takes in Ella's words. Her heart begins to race. She looks anxiously at the closed door. Ella's voice fades away as her vision narrows. The trapped feeling descends on her, and she leaps to her feet with a GASP.

Everyone stares. Spencer straightens.

ELLA

Emily? Is everything okay?

Emily looks around wildly. She needs to get out of here.

EMILY

I just...I'm sorry, I have to go.

She bolts from the room. The door slams behind her. Ella is visibly alarmed. Spencer and Hanna begin to rise.

SPENCER

Mrs. Montgomery, can we -

ELLA

Yes. Go.

They swiftly rush out the door after Emily.

INT. ROSEWOOD HIGH SCHOOL - HALLWAY - DAY

Spencer runs down the hallway. She peers around the corner, her brow creased with worry.

SPENCER

Em?

Hanna emerges from the bathroom.

HANNA

She's not in there.

SPENCER

Then where did she go?

EXT. ROSEWOOD HIGH SCHOOL - ENTRANCE - DAY

Emily races down the stairs. She's pale and sweating, and she gasps for breath as she reaches the bottom of the steps. She stops for a moment, bending over and breathing deeply. Panic is still evident on her face.

After a beat, she straightens up and glances over her shoulder at the school. She can't bring herself to go back in, so she takes a deep breath and heads in the opposite direction.

End of Act One.

ACT TWO

INT. THE BREW - DAY

Aria's scrambling to gather her papers and books when Ezra approaches her. His eyes are bright, almost gleeful.

EZRA

Aria.

She stands up straight, stiff, almost wary in his presence. Ezra, seemingly oblivious to this, moves in and gives her a slightly awkward hug.

EZRA (CONT'D)

You have no idea how worried I've been. I tried to call you, I texted...

ARIA

Yeah, sorry. It's just been an intense week.

EZRA

I get it, trust me. I probably wouldn't be ready to talk for a while either.

They settle into an uncomfortable silence. Ezra finally seems to pick up on the tension.

EZRA (CONT'D)

So how are you doing, considering everything?

ARIA

I'm okay. Just taking it one day at a time.

EZRA

That's all you can do. Hey, if you need any help getting caught up on your schoolwork, I've been told I'm a pretty good tutor.

Aria gives him a smile. It's forced.

ARIA

I'll let you know.

She takes a breath, then stoops down and starts collecting her things, her movements hasty.

ARIA (CONT'D)

I'm supposed to meet my dad, so...

EZRA

Aria.

She looks up. Ezra's watching her with a conflicted expression.

ARIA

Yeah?

EZRA

I just, I can't help but feel like...is everything okay between us? You just seem a little -

ARIA

Ezra. I just spent three weeks barely sleeping or eating in a bunker with no windows. Okay? I'm sorry if I'm a little on-edge, but not everything has to do with you.

She scoops up the rest of her books and brushes past him. Ezra turns and watches her go.

INT. FIELDS HOUSE - EMILY'S BEDROOM - DAY

Emily sits on her bed, typing out a text to Spencer. CLOSE-UP on her phone. The message reads: _"Sorry I bailed on school. Guess I'm not as ready as I thought. I'll call you later."_

Emily sends the text and holds her phone in her lap for a few moments, in serious consideration. Finally she picks it back up, locates a number, holds the phone to her ear, and waits.

EMILY

Claire? Hi, it's Emily Fields. I don't know if you remember me.

INT. ROSEWOOD HIGH SCHOOL - HALLWAY - DAY

Hanna is just shutting her locker door when the final BELL RINGS. She lets out a breath of relief. She's gotten through her first day back.

She's just pulling out her phone when a SOPHOMORE BOY approaches. He's grinning cockily.

SOPHOMORE BOY

Hey.

HANNA

Uh, hi?

SOPHOMORE BOY

Is it true that when that freak held you captive, he made you guys do stuff to each other?

Hanna freezes. How does he know about those games?

HANNA

What?

SOPHOMORE BOY

You know. Stuff.

He thrusts out his hips in an obscene, gyrating motion. Hanna recoils, disgusted, and he lets out a WHOOP of laughter and runs to high five his friends, who are watching and cackling down the hallway.

Hanna turns away, thoroughly revolted. Her mood has been ruined. Everywhere she turns, it seems like students are whispering about her, staring at her. That out of control feeling is starting to return.

Her eyes land on a vending machine near the doors to the library. She hesitates, but begins walking toward it. She's fumbling with a dollar bill when a voice calls out from behind her -

DR. SULLIVAN (O.S.)

Hanna?

Hanna drops the money and turns in surprise.

HANNA

Dr. Sullivan. Hi.

DR. SULLIVAN gives her a quick hug.

DR. SULLIVAN

I've been meaning to give you a call. I heard about what you girls went through. How are you doing?

Hanna glances briefly back toward the vending machine.

HANNA

Uh, okay. This is my first day back. Same with Spencer.

DR. SULLIVAN

I know. I spoke to Principal Hackett this morning.

HANNA

You did?

DR. SULLIVAN

I've been brought in as a consult for the school counselors. I'll be in two days a week for the next few months. If you ever want to talk, don't hesitate to find me.

Hanna pauses. She can almost feel the presence of the vending machine behind her. She wants so badly to confide in Dr. Sullivan, right here and now, but she can't bring herself to.

HANNA

Thanks.

DR. SULLIVAN

I mean it, Hanna. Anytime.

HANNA

Okay.

Suddenly antsy, she smiles at Dr. Sullivan, side-steps her, and walks quickly away.

INT. RADLEY SANITARIUM - HALLWAY - DAY ROOM

We focus on a pair of boots clicking down the hallway. The steps are quick and confident. As the person approaches the nurse's station, we PAN AROUND to see that it is Alison.

NURSE

Can I help you?

ALISON

I'm here to visit Mona Vanderwaal.

INT. FIELDS HOUSE - EMILY'S BEDROOM - DAY

Emily is standing by her bed, counting the money in her wallet. Spencer is near the doorway, her arms folded across her chest.

SPENCER

Wait, you called Sara's friends?

EMILY

Just Claire. Remember Hanna and I met with her and Tina when we thought Sara was the girl in Ali's grave?

SPENCER

Yeah, months ago. Why do you want to talk to her now?

EMILY

Spencer, Sara was with us in the dollhouse. She'd probably been there for years.

SPENCER

I know. But if her friends didn't know anything five months ago, what makes you think they'll suddenly know something now?

Emily hesitates. She drops her wallet back into her purse before answering.

EMILY

I'm not meeting Claire to get information. I just want to talk to her. When I called, she didn't even know that Sara had been found.

She's talking with conviction, but Spencer is growing more perplexed by the moment.

SPENCER

Okay, and? What does this have to do with you?

EMILY

My mom said that the police took Sara back to the hospital. They're talking to her parents about sending her to Radley, or somewhere like it. I feel bad for her. She seemed so broken when she found me on the street. The least I can do is help reunite her with her friends.

Spencer gives her a long, questioning look. Emily averts her eyes, busying herself with zipping up her purse.

SPENCER

Well, then maybe I'll go to the hospital. See if I can find out more about Sara and why Charles, or whoever "A" is, was using her as their first Ali doll.

EMILY

Fine. But be gentle if you try and talk to her, okay? She seems pretty fragile.

SPENCER

When am I not gentle?

Emily gives her an incredulous look as we cut to -

INT. RADLEY SANITARIUM - DAY ROOM - DAY

Mona and Alison sit on opposite sides of the sagging couch. Mona is on-guard. Alison seems uncomfortable.

ALISON

Emily said everyone came to visit you yesterday.

MONA

Yeah. They'll be back tonight.

She gives Alison a dubious look.

MONA (CONT'D)

I know why the girls have been coming here. We've gotten over the past. But what I don't understand is what you're doing here.

ALISON

(thoughtful, almost to herself)

They've gotten over the past.

She looks directly at Mona for the first time. Her eyes are blazing.

ALISON (CONT'D)

How?

MONA

Excuse me?

ALISON

You spent all of junior year torturing them. You ran Hanna over with a freaking car. But now you're part of the gang and I'm treated like the red-headed stepchild.

MONA

Um, Ali? Maybe you've forgotten, but the five of us went through literal hell together.

ALISON

And I tried to save you from it! All of you. I risked my life trying to lure "A" out of hiding.

Silence. Mona sits back, momentarily stunned.

MONA

I didn't know anything about that.

ALISON

You might not have, but I'd bet anything that Caleb and Toby told Hanna and Spencer, at least.

Mona finally lets go of some of her suspicions. She shifts to face Alison head-on.

MONA

The thing is, Ali, that might not be enough. I'm speaking from experience. One act of generosity isn't enough to prove that you really have changed.

Alison sits back. She nods, considering this.

MONA (CONT'D)

And I can't speak for the others, but I know it's a little hard for me to even look you in the eye knowing that the person who forced me to be your doppelganger for six months might be your brother.

At her words, any trace of understanding is gone from Alison's expression. Her eyes narrow with sudden anger.

ALISON

Charles is dead.

Mona laughs incredulously, almost mockingly. The moment they almost shared is clearly over.

MONA

Why are you so sure? Because Daddy said so? Since when are you so quick to take people at their word?

ALISON

So what, then? Say my dad's lying and Charles really is alive. You think he's still hiding out here at Radley? That he can somehow sneak in and out whenever he wants?

MONA

He wouldn't be the first person who managed to be "A" while locked up in here.

Alison rolls her eyes. Mona continues -

MONA (CONT'D)

But I don't think anything yet. That's what I'm in here to find out. My point is, if it really is your brother who's been chasing us around the metaphorical game board for the past year...

She trails off, her words falling away as her eyes focus on something over Alison's shoulder. Alison leans forward, still angry.

ALISON

Well? Are you ever going to get to the point?

MONA

(whispering)

The game board.

ALISON

What?

Mona scrambles off of the sofa and rushes across the room. Alison follows, completely lost. She watches as Mona kneels down in front of the shelf of board games beside the piano. Mona rummages through the shelf and pulls out the game titled _Voyage._ Smiling triumphantly, she sets it down on one of the tables and opens it.

Alison peers over her shoulder at the game. She is completely clueless.

ALISON (CONT'D)

Okay, I know I was just talking about wanting forgiveness, but I didn't mean I want to sit down and play board games.

MONA

This is not for playing.

She unfolds the game board and lays it flat on the table. Alison leans closer, taking in the hand-drawn map that's been written overtop of it. Realization begins to light up her face.

MONA (CONT'D)

It's for getting our answers.

End of Act Two.

ACT THREE

INT. RADLEY SANITARIUM - HALLWAY - DAY

Mona and Alison sneak slowly down a dark, empty hallway in the depths of the building. It appears completely abandoned, something out of a horror movie. Mona holds the gameboard map out in front of her, concentrating hard.

ALISON

Why would they keep patient records down here?

MONA

They keep archives here. Old records that they don't have any use for now.

ALISON

How do we know they even still have Charles' file? He was here over ten years ago, wouldn't they have gotten rid of it by now?

MONA

Only one way to find out.

She stops in front of a closed door, consults the board one more time, then smiles in satisfaction and tries the knob. The door is locked.

MONA (CONT'D)

Please tell me you have a bobby pin.

Alison pulls one out of her hair. Mona holds out her hand, but Alison brushes past her.

ALISON

Please. I was on the run for two years, remember?

She leans down, sticks the bobby pin in the lock, and has the door open in seconds. Mona is impressed, despite herself. Alison is satisfied as she swings open the door and pushes her way inside.

INT. RADLEY SANITARIUM - RECORDS ROOM - DAY

When she flips the light switch, a single light bulb hanging from the ceiling flickers feebly. It provides just enough light for the girls to get a view of the file cabinets that line every wall. Boxes upon boxes are stacked on top of them, and papers overflow out of them.

Mona and Alison exchange a glance. This is going to be harder than they thought.

EXT. PARK OUTSIDE ROSEWOOD - DAY

Emily and CLAIRE sit side-by-side on a park bench.

CLAIRE

I saw something on the news about a kidnapping in Rosewood. But I never would have thought...

EMILY

That Sara was one of the victims?

Claire has tears in her eyes. She reaches to wipe them away.

CLAIRE

It doesn't make sense. We all thought she just ran off with some guy. This whole time she was being held in some creep's bunker?

EMILY

It seems like it. My friends and I are trying to figure out why the person who kidnapped us would want to do the same thing to Sara.

CLAIRE

Shouldn't the police be the ones trying to figure that out?

Emily struggles to respond. Thankfully, Claire doesn't really seem to be waiting for a response.

CLAIRE (CONT'D)

(incredulous)

Sara's actually alive. I know the last time we talked I told you that we all still expected her to be out there somewhere, but I honestly never expected it to be true.

EMILY

I know what you mean. Me and my friends felt the same way when Ali came back.

CLAIRE

Where is Sara now?

EMILY

Still in the hospital.

CLAIRE

The hospital? Why? Was she hurt down there?

Emily hesitates. She can't tell Claire too much, so she chooses her words carefully.

EMILY

I'm not sure. She looked okay, but she was down there for so long.

Claire goes quiet. She stares contemplatively down at her hands. She seems to be gathering the strength to speak.

CLAIRE

What was Sara like?

EMILY

What do you mean?

CLAIRE

When she was down there with you guys, in that place. I'm sorry, it's probably a stupid question. I was just curious.

EMILY

It's not a stupid question. But honestly, I don't know. Char -

She catches herself just in time.

EMILY (CONT'D)

Our kidnapper kept her separate from the rest of us. We didn't even know she was down there until she was found by the police.

CLAIRE

And you have no idea who kidnapped you?

Once again, Emily can't give a real response. She just shakes her head. Claire gives her a sympathetic look.

CLAIRE (CONT'D)

It can't be easy for you to talk about. Thank you for telling me about Sara.

EMILY

She was your friend. You had the right to know she's alive.

CLAIRE

Can I see her? In the hospital?

Emily is taken aback by the question. She considers how to respond as we cut to -

INT. APPLE ROSE GRILLE - DAY

Aria and Hanna sit at a table by the windows. Aria is lost in thought, and Hanna grimaces as she stirs her coffee.

HANNA

The Brew has way better coffee.

ARIA

Yeah, but it doesn't have cheese fries. Want to split a basket?

HANNA

No!

The response is too quick and too aggressive. Aria's eyebrows shoot up. Hanna tries to cover.

HANNA (CONT'D)

I just, I'm not really that hungry.

ARIA

Not hungry for cheese fries? That's a first.

Hanna averts her eyes uncomfortably, but she's spared from further explanation by the sound of her phone CHIMING. She looks at the screen.

HANNA

Spencer just got to the hospital. She said she'll let us know if she finds out anything.

ARIA

Maybe one of us should have gone with her. Spencer can get a little intense, and the last thing we need is her freaking Sara out so badly that she doesn't talk to any of us ever again.

HANNA

You're not wrong.

(a pause, then)

So what's the real reason why you didn't want to go to the Brew?

A "deer in headlights" look passes over Aria's face for a brief flicker.

ARIA

I told you. I'm hungry.

HANNA

Aria, when I stopped in front of the door you dragged me away like a bloodhound that just smelled a rat. The food here's not that good.

Now it's Aria who can't meet Hanna's eyes. She stares out the window, her face darkening.

HANNA

What's going on?

Aria takes a deep breath, and lets the dam break open.

ARIA

I saw Ezra this morning. For the first time since we were kidnapped.

HANNA

How was it?

ARIA

Weird. Awkward.

HANNA

Why?

ARIA

I told him I was just on edge after everything that happened. And part of me thought that was the truth. But now I'm not so sure.

HANNA

Why? Did he say something?

Aria is looking more uneasy by the second.

ARIA

He did something. I just never fully realized it until now.

Confusion crosses Hanna's face as she listens. After a moment, she realizes what Aria's getting at.

HANNA

Are you talking about the book?

Aria is nauseous. She wraps her hands around the mug of tea in front of her and leans forward intently.

ARIA

After what happened in New York, it didn't seem so important anymore. I mean, all that seemed to matter was that Ezra wasn't "A." And he jumped in front of a bullet to save us. To save me. I convinced myself that in the grand scheme of things, his research wasn't as big of a deal as I made it out to be.

HANNA

So what changed?

ARIA

The dollhouse. Being down there, under all of that surveillance, with "A" watching our every move, it made me feel like I was living in a fishbowl. And now, every time I look at Ezra, all I can think about are those cameras he had hidden, and the pictures he took of me, when I didn't even realize he was watching. Remembering it makes me feel like I'm reliving the bunker all over again.

(suddenly)

I sound crazy. Is this crazy?

Hanna just shakes her head. Her expression is more than just sympathetic - it's understanding.

HANNA

Ezra might not have been "A," but he was doing the same thing "A" was.

ARIA

It was just a bigger fishbowl.

She and Hanna exchange a sad, resigned glance.

INT. ROSEWOOD COMMUNITY HOSPITAL - HALLWAY - DAY

Spencer walks slowly down the hallway, her hand grazing against the wall. She glances back and forth as she moves along, wary of being spotted. At last, she comes to a room marked with the name "SARA HARVEY." The door is partway open.

Spencer moves closer and peeks inside. SARA is sitting up in bed, facing her mother, LAUREL, a put-together blonde woman. Their voices aren't audible, but Sara's face is set and angry, and they appear to be arguing. There are tears on her mother's face.

Spencer desperately wants to hear. She leans closer, her head nearly in the doorway, when -

WREN (O.S.)

Spencer?

Spencer jumps back and spins around like she's been caught with her hand in the cookie jar. WREN is standing right behind her.

INT. RADLEY SANITARIUM - RECORDS ROOM - DAY

Mona and Alison stand on opposite sides of the room. They're both going through boxes of old, stained files.

As Mona rifles through the papers in a box, she hesitates, looking conflicted.

MONA

(suddenly)

I'm sorry.

Alison drops the file in her hand and turns.

ALISON

What?

MONA

I know I wasn't your favorite person to begin with. But after my whole stupid stunt, and what it did to you...I can't believe you're even talking to me at all.

Alison stares at her, barely moving. Her expression is indecipherable.

MONA (CONT'D)

I really thought that I'd be able to help you, all of you, in the end. That getting you sent to jail would be worth it when I found out who "A" was and saved the day. But all I really wanted was to be the hero, and I'm sorry that I put you through that. It didn't even do any good.

She looks legitimately remorseful. Alison takes a moment to process this sudden apology. Anger flits briefly across her face, but it just as quickly settles into a look that's equally guilty as she makes a decision.

ALISON

You're not the only one who needs to apologize. I can't blame you for wanting me gone once I came back to Rosewood. I didn't give you any reason not to.

MONA

That doesn't justify what I did.

ALISON

No, it doesn't. We've both done awful things to each other.

MONA

So I guess you could say they cancel each other out.

Alison laughs a little.

ALISON

I don't know about that. But I think we could both use a clean slate.

Mona can barely believe what she's hearing. She gives Alison a small smile, which Alison returns. It's not much, but it's a start.

INT. ROSEWOOD COMMUNITY HOSPITAL - HALLWAY - DAY

Wren pulls Spencer away from the doorway to Sara's room. He looks equal parts surprised and irritated to see her.

WREN

Spencer, what are you doing here?

SPENCER

I...

She's trapped. She attempts to give him as much of the truth as she can.

SPENCER (CONT'D)

I was trapped down in the bunker with the girl in that room. Sara. I wanted to talk to her.

The surprise on Wren's face melts away as her words hit him.

WREN

That's part of why Melissa and I returned from London. We were worried sick.

Spencer is too determined to be flattered by his concern.

SPENCER

Yeah, well, we might have gotten out of there, but the person who kidnapped us is still out there somewhere, which is why I need to find out anything Sara might know.

She tries to step around Wren, but he blocks her path.

WREN

I'm sorry, Spencer, but I can't let you do that.

SPENCER

Do what? Have a conversation?

Wren glances around, then leads Spencer into an alcove of water fountains, even farther out of anyone's earshot.

WREN

I shouldn't be telling you this, but Sara isn't in a good place for visitors.

SPENCER

She's still insisting that she's Ali?

WREN

And she becomes extremely agitated when anyone suggests otherwise, including the police.

Spencer shakes her head. She was counting on this plan and she's not willing to give it up.

SPENCER

Okay, so she thinks she's Ali. That doesn't mean I can't ask her about the dollhouse itself.

WREN

That's not a good idea. She's in a fragile state right now, and the last thing she or her doctors need is a regression.

SPENCER

But -

WREN

I know you want answers. But this isn't the place to get them.

His tone is final. Spencer finally slumps a bit. She knows she's not going to get anywhere.

SPENCER

Can you just let me know if anything changes? Please?

WREN

She may have been released by then, or transferred. But if I can do anything to help you, I will.

He sounds sincere enough that Spencer is slightly pacified. A NURSE approaches Wren, and Spencer gives him a small smile before slipping down the hallway.

She's just nearing the elevator, her expression defeated and frustrated, when VERONICA suddenly rounds the corner. She and Spencer nearly collide. Veronica takes a step back, shocked.

VERONICA

Spencer?

End of Act Three.

ACT FOUR

INT. MARIN HOUSE - HANNA'S BEDROOM - DAY

Hanna sits in the center of her bed. There's a large bag of cheese puffs open in her lap, and she shovels handful after handful into her mouth. She looks miserable, but the motion is almost automatic. Her cheeks are wet with tears.

We PAN DOWN on Hanna's phone, laying on the table beside the bed. On the screen is a two week reminder email about the upcoming deadline for completing financial aid for college.

INT. ROSEWOOD COMMUNITY HOSPITAL - HALLWAY - DAY

Spencer takes a step backward, disoriented and shocked by the sight of her mother.

SPENCER

What are you doing here?

VERONICA

I came here to talk to a specialist about some dietary changes that could help with your anxiety. Now I have the same question for you.

Spencer frantically tries to come up with an answer.

SPENCER

I - I was just here to -

There's a burst of LAUGHTER from down the hallway. Veronica peers over Spencer's shoulder and spots Wren laughing with several nurses. Realization dawns on her.

VERONICA

Oh. Now I see what's going on.

SPENCER

What?

VERONICA

You came to see Wren, didn't you?

SPENCER

Wren? No, I -

VERONICA

The pill bottle I confiscated from you is missing from my purse, Spencer. What, did you come to try and convince Wren to get you more?

Spencer is completely aghast.

SPENCER

You have to be kidding me. You think I came here to smuggle out pills? That I have a prescription for?

VERONICA

I don't know what to think at this point. All I know is that I just found my daughter sneaking around a hospital, and unless you can give me another explanation for what you're doing here, this is what I have to go with.

Spencer hesitates. She battles with herself, trying to determine if the truth is better than the lie. But Veronica goes on before she can make a decision.

VERONICA (CONT'D)

Let me see your bag.

SPENCER

My bag?

VERONICA

Spencer. Your bag.

She holds out her hand. Spencer hands it over reluctantly. Veronica opens it and digs through it with one hand. After a moment, she pulls out the small orange pill bottle with Spencer's name on the label.

SPENCER

Mom...

Veronica seems equal parts triumphant and dismayed at being, supposedly, proven correct.

VERONICA

We've been down this road before, Spencer. And I'm not going there again. You can spend tonight at the house, but as soon as we get home I'm calling Melissa. She offered to let you get out of Rosewood and stay with her, and tomorrow you'll be taking her up on that offer.

SPENCER

I'm going to live with Melissa?

VERONICA

You're going to stay with her and Wren in the city until your father and I decide you're stable enough to come back home.

Spencer stares at her, then shoots a quick glance back toward Sara Harvey's room. There's nothing she can say to argue her way out of this one.

VERONICA (CONT'D)

Come on, we're going home. You can follow me in your car.

She takes Spencer's arm and pulls her toward the elevator. Just as the door opens, Emily ENTERS from around the corner. Claire and TINA are right behind her.

Spencer and Emily make eye contact as Spencer is stepping into the elevator. Emily gives her a questioning look, but Spencer just shakes her head silently as the door slides closed.

INT. ROSEWOOD COMMUNITY HOSPITAL - SARA'S ROOM - DAY

Emily steps into the doorway. Sara is still lying in bed, her exhausted-looking mother now sitting with her head in her hands.

Sara notices Emily and brightens immediately.

SARA

Emily.

Laurel looks up as Emily walks tentatively into the room.

EMILY

Hi.

LAUREL

Who's this, Sara?

Sara's face darkens again. Then she gives Emily a hopeful look.

SARA

Emily will tell you. She'll tell you I'm Alison. She believes me.

Emily shifts uncomfortably.

EMILY

I'm one of the girls who was kidnapped last month.

LAUREL

Oh honey, I'm sorry. I guess I should have recognized you, but once I found out Sara was back everything else just flew from my mind.

SARA

My name is not Sara.

She's becoming agitated. Emily wants to move things along.

EMILY

I brought a few people here to see you. I hope that's okay.

She looks back at the door just as Claire and Tina enter. Their faces are hopeful, and they break into cautious smiles when they spot Sara. She looks blankly back at them.

CLAIRE

Oh my god.

TINA

God, Sara, you look so different. But good. Different, but good.

They're obviously trying to control their joy at seeing their friend alive.

CLAIRE

We seriously thought we'd never see you again.

SARA

I don't know what you're talking about.

Tina walks over to perch on the edge of the bed.

TINA

Sara, I know we didn't always get along before, but we really are glad you're back.

SARA

I don't know who you are. What are you doing in here?

Claire and Tina exchange a confused look.

CLAIRE

Sara, it's us. Tina and Claire, your best friends.

Sara is beginning to look afraid.

SARA

Neither of you are my friends.

She points almost hysterically at Emily.

LAUREL

Sweetie...

SARA

Emily's my friend. Emily, and Aria, and -

She stops talking abruptly, her eyes going wide. Emily whirls around. Standing in the doorway is AVERY. With flat brown hair and a too-big gray sweater, she's not exactly eye-catching, but Sara looks like she's seen a ghost.

SARA

Avery?

End of Act Four.

ACT FIVE

INT. ARIA'S CAR - EVENING

Aria sits behind the driver's seat, nervously tapping her finger against the steering wheel as she phone rings in her ear. After a few beats, she speaks into the voicemail.

ARIA

Ezra, hey, it's me. Look, I know that I told you this morning that I was just feeling on edge, but the truth is, I think I need to put some distance between us for a while. I'm just not sure I can be with you, like that or...not like that, right now. I just need some time to think. I hope you can understand. I...

She takes in a breath, as if to say more, but ultimately decides against it and ends the call. Then she leans back against the seat and exhales.

INT. MARIN HOUSE - ENTRYWAY - EVENING

Aria ENTERS through the front door.

ARIA

Hanna?

INT. MARIN HOUSE - BATHROOM - EVENING

Hanna sits on the edge of the bathtub, one hand pressed against her eyes and the other wrapped around her stomach. She grimaces in pain, coughs, and is just beginning to heave when Aria calls out again -

ARIA (CONT'D) (O.S.)

Hanna? Are you home?

Hanna sits back, startled, just as a KNOCK sounds at the bathroom door.

ARIA (CONT'D) (O.S.)

Han? Hey, are you in there?

Hanna tries, and fails, to compose herself.

HANNA

Yeah.

ARIA (O.S.)

I'm coming in, okay?

The door opens, and Aria ENTERS. She freezes when she sees Hanna.

ARIA (CONT'D)

Are you okay?

Hanna takes in a shaky breath, but before she can stop herself, her emotions bubble over. Her face crumples and she lets out a sob, wrapping her arms around herself.

Aria rushes to join her on the edge of the tub.

ARIA (CONT'D)

Hanna, what's wrong? Did something happen?

Hanna is crying too hard to speak. Instead, she turns her head. Aria follows her gaze and notices the empty cheese puff bag stuffed into the garbage can.

Aria understands instantly.

ARIA (CONT'D)

Han...

She wraps her arms around Hanna in a tight hug. Hanna leans into her, sobbing as Aria tries to comfort her.

INT. RADLEY SANITARIUM - RECORDS ROOM - EVENING

Mona and Alison are bent over the table in the center of the room. They're each going through a stack of files, but their movements are tired, fed up.

ALISON

What are we gonna do if it's not here?

MONA

Then I'll just have to keep digging. Maybe I can track down some patients who've been here for a while, see if they remember him.

After a moment of quiet, Alison suddenly GASPS. She snatches the file in front of her.

ALISON

DiLaurentis. Charles DiLaurentis. I got it.

Mona's head snaps up. She drops the papers in her hands and moves to look over Alison's shoulder.

MONA

It's only one page?

ALISON

Looks like it. And what are all these black lines?

MONA

Redactions. A bunch of information has been taken out.

They meet each other's eyes.

ALISON

Why would they do that?

She sets the file down on top of a few others. They both peer down at it.

MONA

Date of birth, October 14, 1988.

ALISON

Same as Jason.

MONA

But no date of death. Ali, are you sure your dad told you Charles died while he was here?

ALISON

He said he killed himself while he was a patient at Radley.

MONA

If he did, they'd have record of it. This proves that Charles is still alive. Or at least that he could be.

Alison steps back from the file. A conflicted look passes across her face.

ALISON

He could be "A."

Her phone BEEPS. She pulls it out shakily.

ALISON (CONT'D)

It's my dad. He wants to know where I am.

MONA

What time is it?

ALISON

After five.

MONA

Visiting hours end at five. You need to get out of here, and I need to get back to my room before they notice I'm missing.

In a sudden haste, Alison grabs Charles' file, accidentally scooping up the ones under it as well. She shoves the papers into her purse, and the girls leave the room in a rush, flicking the light off behind them.

INT. HASTINGS HOUSE - GREAT ROOM - NIGHT

Charles' Radley file is splayed on the coffee table. Spencer, Aria, Emily, and Hanna are gathered around it, reading intently. Alison and Mona stand above them, watching their reactions.

HANNA

Okay, there's barely even anything in here.

MONA

What really matters is what's not there.

The girls bend down closer. Alison turns suddenly to Mona, something occurring to her.

ALISON

I thought you said you'd be in Radley for a few days. How'd you get out so soon?

MONA

I checked myself in, and I'm not a threat to myself. They could let me go anytime I wanted.

Spencer suddenly looks up with a GASP, realization dawning on her.

SPENCER

There's no report of his death.

MONA

Exactly. If he really did commit suicide while he was institutionalized, it would be in there.

Emily leans closer to the file, examining it with a furrowed brow.

EMILY

Is it normal for Radley to black out so much information?

SPENCER

The only file I've ever seen is my own. But it definitely didn't look like that.

ALISON

And neither did any of the other records we looked at.

ARIA

Does this mean they're trying to hide something about Charles?

SPENCER

Wouldn't be the first time Radley tried to stage a cover-up.

Alison is beginning to look sick to her stomach.

ALISON

We have to find out what it is. For all we know he is dead, and they didn't want people to find out.

MONA

Or he's still out there somewhere, and he was involved in things even Radley didn't want anyone knowing about.

The thought disturbs everyone but Hanna, who's shifting through the small pile of papers beside Charles' file.

HANNA

What are these?

ALISON

Oh, they're just other records I accidentally grabbed when I picked up Charles'.

HANNA

Well, none of them look like his. God, these are pages long. Amanda DeLuca was in Radley for almost forty years.

She flips through the files, half-heartedly commenting as she does so.

HANNA (CONT'D)

Robert Drane, Charlotte Drake -

SPENCER

Wait. What was that last one?

She's staring at Hanna like a dog that just smelled a bone.

HANNA

Charlotte Drake?

Spencer and Emily exchange a questioning glance.

EMILY

Charlotte as in CeCe?

ARIA

What?

She leans closer to look at the file. Alison's eyes widen.

ALISON

No. There's no way it's CeCe.

HANNA

How can you be sure?

ALISON

Because there's no way she wouldn't have told me.

Mona looks dubious. She peers down at the file.

MONA

It says Charlotte was born in 1988. The same year as Charles and CeCe.

ALISON

That doesn't mean anything.

SPENCER

No, but we have to consider every possibility. And if CeCe really was a patient at Radley at the same time Charles was, it could mean a lot.

EMILY

She could know something.

Alison shakes her head, agitated. She sweeps together the files and straightens.

ALISON

Before we all get hung up on a name that a million people probably have, can we talk about this more tomorrow? I told my dad I had to run over here to return a jacket, I give it five more minutes before he gets ready to call the cops.

The other girls exchange glances as Alison moves toward the back door.

ARIA

Yeah, we'll figure out a time to meet up tomorrow.

Alison lets herself out, ignoring the fact that Spencer's eyes are still locked on the files in her hand. We PAN OVER to Alison's phone, left behind on the table.

EXT. HASTINGS HOUSE - BACK PORCH - NIGHT

Alison shuts the door behind her and descends the steps to the backyard. As she's crossing the yard toward her house, she reaches into her purse and freezes. She opens it and digs around, then checks the pockets. Her phone is gone.

She SIGHS in annoyance and turns back to the Hastings' house. She walks back up onto the porch, and is just reaching for the door handle when she looks through the window and stops short.

We watch through the window along with Alison as Spencer walks over from the kitchen with a bowl of popcorn in hand. Aria's inserting a DVD into the television, and Hanna, Emily, and Mona are unrolling sleeping bags.

The girls settle in front of the television, the popcorn in front of them. Something is said that Alison can't hear, but she sees everyone laugh.

She takes a step away from the window, obviously stung. The hurt is clear on her face as her exclusion sinks in. She finally tears her eyes away from the scene inside, down to the files marked CHARLOTTE DRAKE and CHARLES DILAURENTIS in her hands. She glances back and forth between the girls, laughing inside without her, and the records, as we -

FADE TO BLACK.

End of Act Five.

**Notes for the Chapter:**

> Next on Pretty Little Liars: Emily seeks out answers from CeCe, and Spencer's stay at Melissa and Wren's apartment leads her to a new discovery. Meanwhile, Hanna finally comes to terms with her disordered eating, while Aria and Mona return to school. Alison must decide where her loyalties lie.


	5. 6x05 - "The Good Doctor"

**Notes for the Chapter:**

> Feedback is always appreciated!

SEASON 6, EPISODE 5: "THE GOOD DOCTOR"

TEASER

FADE IN:

INT. THE DOLLHOUSE - HALLWAY - NIGHT

The bunker is deadly silent. The movie-theater style lights flash ominously. A shadow falls across the wall. ARIA appears from around the corner. She's walking cautiously, her hand trailing along the wall. She's dressed in a hospital gown, and her steps are dreamy, almost like she's floating.

Aria reaches the ladder to the exit and looks up. The door is wide open, and the stars shine above. Aria GASPS, her face lighting up. She backs away from the ladder, turns, and sprints back down the hallway.

ARIA

Guys, it's open! The door's open! Come on!

INT. THE DOLLHOUSE - SPENCER'S ROOM - NIGHT

Aria flings open the door. The room is pitch black. She flips on the light switch. SPENCER lies stiffly on the floor. Blood pools from an unknown source beside her. Her eyes are wide and unseeing - she's dead.

Aria SCREAMS at the top of her lungs. She backs away and out of the room, breathing hard.

INT. THE DOLLHOUSE - HANNA'S ROOM - NIGHT

Again, Aria slams the door open. HANNA lies on the bed, atop the covers. Her eyes are closed, but her face is sickly white.

ARIA (CONT'D)

Han...

INT. THE DOLLHOUSE - HALLWAY - NIGHT

Aria stumbles back into the hallway. She flings open the doors of EMILY and MONA's bedrooms, letting out a cry each time. They're dead - they're all dead. Aria collapses to the stone floor, sobbing, her expression agonized.

The sound of a door CREAKING closed echoes down the hallway, and her head snaps up.

ARIA (CONT'D)

No.

She scrambles to her feet and runs full-speed back toward the ladder, tears still streaming down her face.

ARIA (CONT'D)

No!

She reaches the bottom of the ladder and grasps the bars, looking up just in time to see the door to freedom slam closed.

INT. HASTINGS HOUSE - GREAT ROOM - NIGHT

Aria bolts upright on the sofa with a GASP of fear. Her forehead is slick with sweat, and her eyes are wide with terror. She clutches a blanket to her chest and looks around. Spencer is curled up on the other end of the sofa, and Hanna and Emily are sprawled out in their sleeping bags on the floor.

Aria, still breathing hard, rises slowly. She stands, wraps the blanket around her shoulders, and walks shakily into the KITCHEN.

Mona sits on a stool at the island. She's staring down at the mug of tea in her hands, but looks up as Aria approaches.

MONA

You can't sleep either?

ARIA

Just a nightmare.

She slides onto the stool beside Mona, still shaky and unsettled.

MONA

I know the feeling.

She gestures to the pot of hot water on the stove.

MONA (CONT'D)

Want some tea?

ARIA

Yeah, sure.

Mona hops off of the stool and goes to fill another mug.

ARIA (CONT'D)

Why are you up?

MONA

Same reason you are. I haven't gotten a full night's sleep since we got out of there.

ARIA

Yeah, neither have I. I thought the five of us being together tonight might put my mind at ease, but I guess not.

Mona hands her a mug and sits back down. The girls sit quietly for a moment, sipping their tea.

MONA

So, are you going back to school?

ARIA

I don't know. I feel like I should, you know, just to try and feel normal again.

MONA

I don't think it's that easy. School isn't some magical cure-all. It might be the opposite.

They sit in silence for a long beat, considering this.

ARIA

Maybe you're right. But, I mean, anything has to be better than sitting around reliving what we went through day after day -

Mona cuts her off before she can get too hysterical.

MONA

We'll go tomorrow. Together.

They share a determined, unified look as we -

CUT TO BLACK.

End of Teaser.

ACT ONE

EXT. HASTINGS' HOUSE - DRIVEWAY - DAY

Spencer exits the house, dragging a suitcase behind her. TOBY follows, carrying a duffel bag over his shoulder. The two of them cross the front lawn to where Aria, Emily, Hanna, and Mona stand beside the car.

HANNA

How long will you be at Melissa's?

SPENCER

(dryly)

Until my mom decides I can come home.

EMILY

This is crazy. We know you're not taking pills again, Spence.

ARIA

Why don't you just tell your mom the truth about why you were at the hospital?

All heads swivel around to stare at her.

MONA

What, that you were trying to interrogate another victim before the police could get to her?

This is news to Toby.

TOBY

Wait, what?

Spencer gives him a _look_.

SPENCER

I'll explain over the phone.

(a beat, then)

If my mom knew the truth, she'd ship me out of here even faster. All I have to do is spend a few days with Melissa and Wren, convince them I'm not popping sleeping pills, and that'll be it. I'll be back before you know it.

She looks around at her friends.

SPENCER (CONT'D)

You'll call me if anything happens?

HANNA

If you mean when we nail Sara Harvey to the wall and force her to tell us what she knows, yeah. We'll call you.

It's not entirely clear whether or not she's joking. Before anyone can clarify, VERONICA appears from the house. She's all business.

VERONICA

Alright, Spencer, time to get going. Get your bags in the car.

Spencer pops open the trunk. Emily reaches for Spencer's suitcase.

EMILY

Here, I got it.

She lifts it with a grimace.

EMILY (CONT'D)

God, Spence, what's in here?

SPENCER

Textbooks. Hackett had the teachers give me everything I need to stay caught up for the next week.

The girls exchange hugs as Toby heaves the duffel bag into the trunk.

ARIA

See you soon.

SPENCER

Yeah.

Toby gives her a tight hug.

TOBY

Call me as soon as you get settled.

SPENCER

I will.

She kisses him, and only pulls away when Veronica opens the car door.

VERONICA

Melissa's waiting.

Spencer gives everyone one last sad smile, then climbs into the car. Everyone waves as Veronica pulls away.

ARIA

We should get going if we want to make it to school on time.

Hanna is visibly surprised.

HANNA

Wait, you're coming back today?

MONA

We both are.

The conversation continues inaudibly as the four girls start walking away from the Hastings' house. We PAN slowly away from them and next door to the DiLaurentis' house. ALISON stands on the porch, watching them with an unreadable expression.

INT. DILAURENTIS HOUSE - LIVING ROOM - DAY

Alison ENTERS through the front door. She crosses to the piano and picks up the CHARLOTTE DRAKE file. With one last conflicted look, she sinks down onto the sofa, flips it open, and begins reading.

INT. ROSEWOOD HIGH SCHOOL - HALLWAY - DAY

Hanna's standing at her locker, touching up her eyeliner in the little mirror on the inside of the door.

ARIA (O.S.)

Hey.

Hanna jumps, jittery. A black streak of eyeliner smears out toward her temple.

HANNA

Aria, god.

Aria steps around from the other side of the locker door. She winces when she sees Hanna's face.

ARIA

Sorry. Wasn't thinking.

Hanna pulls a tissue out of her purse and starts wiping away the makeup. Aria watches her with a look of trepidation. It takes a few moments for Hanna to notice.

HANNA

What?

ARIA

Can we...talk about what happened yesterday?

HANNA

You mean the Radley files?

ARIA

Hanna. You know what I mean.

Hanna's hand falls to her side, the tissue crumpled in her fist.

HANNA

I'm not talking about this, not here.

ARIA

Look, I just think that, if what I saw was what it looked like, you need to try and get help. Last year you told me that you used to have issues with food, and I just -

Hanna holds up her hand, cutting Aria off.

HANNA

You don't need to worry about it, okay? It was a moment of weakness. Haven't we all had them, especially since we were in that place?

Aria seems unconvinced.

ARIA

But -

Before she can finish, Emily walks up. She's wearing a genuine smile that we haven't seen since the dollhouse. Hanna immediately turns back to her locker to compose herself. Aria's concerned expression blinks away.

ARIA (CONT'D)

Wow, someone's happy.

EMILY

I just ran into Coach Fulton. She said she'd love to give me another shot at assistant coaching.

ARIA

Em, that's awesome!

EMILY

I know it's a pity toss. But at least it's something normal.

Hanna finally turns away from her locker. The mask is back on - it's like her argument with Aria never happened.

HANNA

And we'll be right there in the stands during games, just like we cheered you on last year.

EMILY

They're called meets, not games. But thanks.

The BELL RINGS, and the girls start down the hallway.

EMILY (CONT'D)

I kind of feel bad, though. Coach asked me to lead an extra practice during lunch today and I already had to bail on her.

ARIA

Why can't you go?

Emily falters, realizing she's said too much. She has no choice but to plow forward.

EMILY

I'm going to see Alison.

Hanna and Aria exchange a look of surprise.

HANNA

What? Why?

EMILY

I want to talk to her about that file she and Mona found at Radley. I really think there could be a connection between it and CeCe. We can't just led this lead go.

HANNA

And you think Ali's just gonna turn CeCe over to you to interrogate?

ARIA

She really didn't seem to want to believe that CeCe is the girl from the file last night.

HANNA

Isn't CeCe still, like, in hiding, anyway? Does Ali even know where she is?

EMILY

I don't know. But I won't find out unless I ask her.

(she hesitates, then)

Anyway, that's not the only reason why I'm going over there. I kind of feel like we've been icing Ali out a little.

HANNA

Uh, yeah. For a reason.

EMILY

She's not "A," remember? And she obviously didn't kill Mona. We're all on the same side here. It's not her fault that her brother might be the person torturing us.

Hanna rolls her eyes, but Aria steps in.

ARIA

I don't know, maybe you're right. It does seem like she wants to move on from the past. And if we managed to forgive Mona...

She gives Hanna a pointed look. Hanna sighs and gives in.

HANNA

Fine, whatever. Go hear her out. But in no way am I ready to be her best friend.

Emily's not satisfied, but it's the best she can ask for. Still, she's startled when Hanna parts ways and heads down an adjacent hallway without another word.

EMILY

Is something going on with her?

Aria battles with indecision, but can't come clean. It's not her secret to tell.

ARIA

I think she's just on-edge. Aren't we all?

INT. MELISSA'S APARTMENT - LIVING ROOM - DAY

Spencer sits on the couch in the small but ultra-neat room. MELISSA stands above her, looking at a piece of paper.

MELISSA

No electronics, no contact with friends or with Toby, for the next three days. Then I'm supposed to reevaluate with Mom and see how much progress you've made.

Spencer is aghast.

SPENCER

You realize how over the top all of this is, right? It's completely unreasonable.

MELISSA

Actually, Spencer, I'm kind of with Mom on this one. Maybe taking some time to disconnect from Rosewood is what you need.

She sits down beside Spencer on the sofa, getting on her level.

MELISSA (CONT'D)

A few years ago, I took an undergrad psych course that talked about addiction. Sometimes returning to the same kind of environment that contributed to your addiction in the past can cause it to resurface. It's called the context effect.

SPENCER

I am not doing drugs, Melissa! Mom's got it all wrong, and now she's got you turned against me, too?

MELISSA

No one is against you, Spence. And thinking that way is part of your problem. You need to understand that we're just trying to help you, especially after what you've been through.

Spencer can't take it anymore. She leaps up.

SPENCER

And cutting me off from the only people who actually understand what I've been through is the answer?

MELISSA

Oh, don't be so dramatic. This is for your own good.

SPENCER

"For my own good?" And I'm the dramatic one?

MELISSA

I guess I just don't understand why you wouldn't want to do everything you can to get better.

SPENCER

Because I am not addicted to drugs! The doctors at the hospital prescribed me pills to help me sleep. I took three before Mom took the bottle away from me.

Now Melissa jumps up. She is just as agitated as Spencer.

MELISSA

Why can't you just stop lying? Even after everything you've been through, it's like nothing's changed!

SPENCER

I'm not -

MELISSA

Wren already told me everything. That you tracked him down and begged him for more meds. He's just as worried about you as Mom and me.

Spencer freezes in shock, staring at Melissa with a disbelieving expression as we -

CUT TO BLACK.

End of Act One.

ACT TWO

INT. ROSEWOOD HIGH SCHOOL - HALLWAY - DAY

Hanna stands in front of a trophy case. Students stream around her, but she's transfixed, staring at a photograph of her and SEAN as last year's homecoming queen and king in the center of the case. She smiles, but there's sadness in her eyes.

Mona appears beside her without Hanna noticing.

MONA

Taking a walk down memory lane?

Hanna jumps a little, then turns.

HANNA

Remember when our biggest concern was Bridget Wu getting more votes than me for homecoming queen?

MONA

No. That was never something to be concerned about.

Hanna smiles and pulls her eyes away from the photo after one last look.

HANNA

How's your first day back?

Mona glances past her at a group of STUDENTS standing near a row of lockers. They're staring at her, and break into whispers when they notice her looking.

MONA

I guess I thought that after one dead girl came back to school, a second one wouldn't be such big news.

HANNA

I don't know if that's the kind of thing you really get used to. Well, unless you're us. So, are you ready for lunch?

MONA

Let's eat outside.

They're just about to start walking when a figure blurs past them, running toward the bathrooms. They freeze.

HANNA

Was that Aria?

They take off in the same direction.

INT. ROSEWOOD HIGH SCHOOL - GIRLS' BATHROOM - DAY

Aria stands at the sink. Her hands are pressed against it, and she's leaning forward, staring straight down and breathing deeply. Her face is pale and her eyes are wide with fear.

Hanna and Mona burst through the door.

MONA

Aria?

HANNA

That was you. What's wrong?

Aria takes in a shuddering breath, trying to compose herself before she turns to face them.

ARIA

I was sitting down in the cafeteria, and was just about to text you guys, when I started hearing all of these different ringing sounds. And I looked over, and the girls at the table next to me, all of their phones were going off at once.

Hanna and Mona exchange a look of understanding.

ARIA (CONT'D)

It was like everything that's happened to us for the past two years just came rushing back to me. I couldn't take it, I just...bolted.

Without speaking, Hanna instinctively moves forward and hugs her. A tear rolls down Aria's cheek. Mona watches them, seeming to get the sense that there's something she doesn't know.

INT. DILAURENTIS HOUSE - ALISON'S BEDROOM - DAY

Alison sits on the edge of her bed. The Radley files are beside her. Emily perches on the edge of the chair at the vanity. Everything about her posture screams "awkward."

EMILY

I don't think any of us ever asked you how you're doing. Being out of jail.

ALISON

It's been okay. As long as I don't leave the house. The second I step out the door, I'm still the girl who was convicted of murder.

EMILY

A murder that never happened.

ALISON

Yeah, well, I guess once you've been branded it's hard to come back from it.

Emily's eyes drift to the files.

EMILY

Have you read it? CeCe's file?

ALISON

(too quickly)

Stop saying it's CeCe's. We don't know that for sure.

EMILY

Do you know where she is? If we can track her down, maybe we can get answers from her.

ALISON

I don't know where she is.

EMILY

But you know how to get in touch with her, don't you?

There's a beat of silence. Alison looks away.

EMILY (CONT'D)

Ali, what if the girl in the file is CeCe? She was at Radley at the same time that Charles was. If they were friends...

ALISON

What? You think CeCe's "A"? That she's been torturing all of us right under the noses of the same cops she's on the run from?

EMILY

I didn't say that, okay? But even if she's not "A," she might know something about Charles, about what happened to him in Radley. She could fill in all of the holes from that file.

Alison gets up from the bed. She moves toward the door. Her face is flushed and angry.

ALISON

Look, Emily, I can't keep digging for answers like this. You didn't see the pain on my dad's face when he told me Charles was dead. He told me the truth. I'm not going to hurt him more by refusing to let this go.

Emily can't believe what she's hearing.

EMILY

So you don't care that "A" is still out there? That this person kidnapped us once, and might be getting ready to do it again?

ALISON

Of course I do, I just...

EMILY

You just don't care enough to actually do anything about it. Got it.

She snatches the file from Alison's bed before Alison can stop her.

EMILY (CONT'D)

You don't want to help me track down CeCe? Fine. I'll do it myself.

Alison attempts to snatch the file back, but Emily dodges her and storms out. The anger fades as she sinks back down onto the edge of her bed.

INT. MELISSA'S APARTMENT - LIVING ROOM - DAY

Spencer is stretched out on the couch, the landline pressed to her ear as she talks to Toby.

TOBY (V.O.)

So are you bored yet?

SPENCER

Beyond bored. But honestly, kind of at ease, too. "A's" been lying low since we escaped, but I feel like it's just a matter of time until they start amping up the game again. Being out of Rosewood makes me feel at least marginally safer.

TOBY (V.O.)

So there's your silver lining. Look, my break's about over, I've gotta get back into the station. I'll call you again tonight.

SPENCER

Okay. I love you.

She hangs up and tosses the phone onto the couch, then sits up and stretches. She gazes across the room until her eyes finally land on a tall bookshelf. With nothing better to do, Spencer crosses the room and begins looking through it.

She plucks out a copy of _The Secret Scripture_ and begins to flip through the pages. As she does so, a slightly worn, sealed envelope lands on the floor.

Curious, Spencer leans down and picks it up. She turns it over in her hand - it is completely blank, no address.

EXT. ROSEWOOD HIGH SCHOOL - COURTYARD - DAY

Hanna, Aria, and Mona sit gathered around a table on the outskirts of the courtyard. They're just finishing lunch, and all too aware of the sideways looks and whispers of the students around them.

A group of FRESHMAN GIRLS are openly staring from the next table over. One cups her hand over her mouth and leans over to whisper to her friend. Hanna stands abruptly, slamming her hands on the table.

HANNA

Why don't you take a picture and post it? I wonder how many likes the kidnapped girls and the not-dead girl will get you.

The freshman whip back around in shock. Hanna rolls her eyes and grabs her lunch tray.

HANNA (CONT'D)

I'll be back.

She EXITS back into the school. As soon as she's out of earshot, Mona turns to Aria.

MONA

Okay, spill it. What is going on?

ARIA

What do you mean?

MONA

Aria, come on. That big display in the bathroom this morning was clearly more than just a panic attack.

Aria's beginning to grow uncomfortable.

ARIA

Why would you think that?

MONA

I've been analyzing people's micro-expressions long enough to tell the difference between fear and heartache. And I could also tell that Hanna knew the full story.

Aria knows that she can't get away with lying.

ARIA

It's nothing, really. Just something kind of personal.

Mona gives this a moment of thought.

MONA

Look, Aria, I get that you guys still don't trust me the way that you trust each other. But if there are things that you're not telling me, I just -

ARIA

It has nothing to do with that. Okay, I admit that having you in the group is still taking some getting used to, but...no. It's just not something I'm ready to talk about yet.

Mona nods, seeming pacified.

MONA

You don't have to tell me anything more. But it's about Ezra, isn't it?

Aria is completely thrown. It takes her a moment to recover.

ARIA

I really need to stop underestimating you.

EXT. FIELDS HOUSE - FRONT PORCH - DAY

Emily sits on the porch swing, her laptop open in front of her. She's staring intently at the screen as she searches for every variation of the name CECE DRAKE that she can find.

She's not finding any leads, and she's growing more frustrated by the minute. This isn't working. She's getting nowhere.

ALISON (O.S.)

Emily.

Emily's head snaps up. She shuts the laptop immediately as she spots Alison walking across the front yard.

EMILY

What are you doing here?

Alison climbs the stairs to the porch. She stands above Emily, her arms crossed. A piece of paper is barely visible, folded in her hand.

ALISON

I've been doing some thinking since you left. I came here to bring you this.

She hands Emily the slip of paper. Emily unfolds it. The address "4516 Franklin Street, Philadelphia" is written in neat cursive. Emily looks at Alison questioningly.

ALISON (CONT'D)

That's where you'll find CeCe.

End of Act Two.

ACT THREE

INT. MELISSA'S APARTMENT - LIVING ROOM - DAY

Spencer sits on the couch, the envelope in her hands. She leans toward the phone, placed on the coffee table, where Emily is on speaker.

SPENCER

You're going alone?

EXT. PHILADELPHIA - FRANKLIN STREET - DAY

Emily is walking down the street, her phone pressed to her ear and the paper with CeCe's address clutched in her other hand.

EMILY

I have to. Ali said that giving me the address was all she felt comfortable doing, and no one else picked up when I called.

SPENCER (V.O.)

Just be careful, okay? Wilden may have been a jerk, but CeCe still killed him in cold blood.

EMILY

I'll be fine. I'll call you when I leave CeCe's.

She hangs up and consults the paper again.

INT. MELISSA'S APARTMENT - LIVING ROOM - DAY

Spencer ends the call and sighs, staring down at the envelope as she turns it over in her hands. She shoots a furtive look toward the door, then slowly rips it open.

There is a single piece of paper crisply folded inside. Spencer pulls it out, then opens it before she can change her mind.

CLOSE-UP on the letter, which reads, in scribbled handwriting: _I can't stay here anymore. They do things here that you wouldn't believe. The longer I'm locked in here, the crazier I feel._

Spencer takes in the contents of the letter, confused. She moves her thumb away from the top corner of the stationary, and GASPS as the Radley insignia is revealed.

EXT. PHILADELPHIA - FRANKLIN STREET - DAY

Emily approaches a slightly rundown apartment building with caution. She checks the paper from Alison one last time - the address matches.

She walks slowly up to the front door. It's propped slightly open with a brick. Still cautious, but blessing her good luck, she pushes it aside and slips in the door.

INT. APARTMENT BUILDING - HALLWAY - DAY

There are no windows in the hallway, and it's lit dimly. Emily walks up to the first closed door. The number "10" is stenciled faintly onto it.

She wasn't given an apartment number, and she has no idea what to do next. She looks around hopelessly, and is just reaching to knock on the door when a gruff voice speaks from behind her -

CECE (O.S.)

What are you doing here, Americano?

Emily whips around. CECE is standing in the doorway of the apartment across the hallway, wearing a black wig and an expression of astonishment mixed with anger.

INT. MARIN HOUSE - KITCHEN - DAY

Hanna ENTERS from the front hallway, clearly in a rush. She grabs her phone and keys from the island and shoves them in her purse. She's just slinging it over her shoulder when ASHLEY ENTERS from the back patio.

ASHLEY

Where are you off to so fast?

She slides the door closed behind her and gives Hanna a quizzical look. Hanna freezes, caught.

HANNA

Nowhere. Uh, just Aria's.

ASHLEY

I'd appreciate if you'd tell me where you're going to be from now on. With the person who kidnapped you still out there...

HANNA

Got it. See you later.

She turns to go, but Ashley stops her -

ASHLEY

Hanna. Wait. Something came for you in the mail today.

HANNA

What?

Ashley picks up a sealed envelope from the counter.

ASHLEY

It's from your school.

Hanna is suddenly nervous. She takes the envelope from Ashley and rips it open. She pulls out a letter and reads it aloud -

HANNA

"Dear Ms. Hanna Marin, congratulations. You have been awarded a scholarship to use at the school of your choice by a donor who wishes to remain anonymous. Unfortunately, we did not receive contact information for which to send thanks. Please stop by my office if you have any questions, and I will answer them to the best of my ability. Congratulations again, and we are all happy to have you back with us again. Signed, Principal Hackett."

She looks up at Ashley, astonished.

ASHLEY

An anonymous donor?

HANNA

So what, some rich bozo felt sorry for the poor kidnap victim and decided to make me his charity project?

ASHLEY

Maybe it was one of the scholarships you applied for.

HANNA

No, I didn't get a chance to submit them before Tanner's goons arrested me.

She opens the envelope wider and digs inside, coming up with a check. She holds it out. Immediately, her mouth drops open.

ASHLEY

What's it for?

Hanna can't speak. She thrusts the check at Ashley. Ashley looks down at it.

CLOSE-UP on the check: The amount is made out for $50,000.

ASHLEY

Oh my god. Hanna, this is...this is your first year of college. Maybe more.

HANNA

Doesn't this seem a little weird to you? Why would someone decide to give me this much?

Ashley puts her hands on Hanna's arms.

ASHLEY

Hanna, after everything we've been through over the past year, I'm more than ready to just take this as a win.

HANNA

Yeah. I guess.

Ashley hugs her, but Hanna looks back at the check, uncertain.

INT. EZRA'S APARTMENT BUILDING - HALLWAY - DAY

Aria stands in front of the door to the apartment. She takes a deep breath, bracing herself. Then she knocks.

EZRA answers a moment later. He registers first surprise at the sight of her, then a bit of anger as her presence sets in.

ARIA

Can I come in?

He stares at her for a long beat, seemingly unmoved. Then, finally, he steps aside and lets her enter.

INT. APARTMENT BUILDING - HALLWAY - DAY

Emily and CeCe stand facing each other, several feet apart. Emily's bravery has dissipated. She's visibly nervous.

CECE

I want to know how you found me here.

Emily's at a temporary loss for words. She struggles to speak. CeCe moves toward her.

CECE

Well? I'm waiting.

She reaches toward her waist, and Emily's eyes follow her hand. A knife is secured to her belt. She reaches for it and Emily leaps back.

EMILY

Alison. I got this address from Alison.

At the mention of Alison's name, CeCe's hand falls to her side. Some of her anger seems to melt away.

CECE

That little bitch. I should have known she would tell you.

There's a bit of her old humor to her words. Emily is still cautious, eyes on the knife.

EMILY

Are you still in hiding? Over Wilden?

CECE

Shooting a detective isn't something that's just going to go away.

She looks around furtively, then pushes open the door to her apartment.

CECE (CONT'D)

We shouldn't be talking out here. Come on.

She slips through the door, and Emily follows.

INT. PHILADELPHIA - RESIDENTIAL STREET - DAY

Spencer and WREN walk down a sunny street filled with apartment buildings. Wren is walking a dog attached to a leash.

SPENCER

Sorry to get in the way of your pet-sitting responsibilities.

WREN

No, I'm just happy to have someone to take Buttercup on walks with. Melissa claims she's allergic.

SPENCER

Yeah, allergic to seeing dog hair on her perfect couch.

Wren chuckles. Spencer gives him a sideways look, working up to the courage to start the conversation.

WREN

I believe you, you know. I can tell you're not taking pills again.

Spencer isn't sure what to make of this. She opens her mouth to ask him about what Melissa told her, but bites her tongue. She needs to approach this gently.

SPENCER

Maybe you can convince my mom and sister. They're ready to put me through detox.

WREN

Just give it a few days. Give them some reassurance. Other than this, how are you holding up?

Spencer sees her opening.

SPENCER

Just trying to look toward the future, mostly. You know, touring a few schools in London a couple months ago really made me think about getting out of here and studying overseas. You went to Oxford, right?

WREN

I actually started at the University of London. Transferred to Oxford after my third semester.

SPENCER

Why?

WREN

Just felt the atmosphere was more what I was looking for.

SPENCER

So if you went to school in London, how were you able to complete your residency here?

WREN

It's not common. But I made some connections, pulled some strings.

He finally pauses, seems to think this all over.

WREN (CONT'D)

Why are you so suddenly so curious about my life story?

SPENCER

Just...trying to keep my mind off of myself.

She can't tell if he believes her or not, but he continues on with the dog. She looks after him for a beat, mulling over everything he just told her.

End of Act Three.

ACT FOUR

INT. EZRA'S APARTMENT - DAY

Aria and EZRA sit across from each other, the coffee table between them. Aria's posture is stiff, her hands clasped to her knees. Ezra is sitting back, his expression stunned and defeated. It's clear that this conversation is nearing its end.

ARIA

I thought I was past it. I did.

EZRA

I thought so, too.

ARIA

But what I went through, down in that...that place, it started stirring up a lot of old stuff for me.

EZRA

About me.

ARIA

About the book, about the surveillance, all of it. And I realized that it wasn't all that different from what happened to us, down there.

Ezra shakes his head. He looks devastated.

EZRA

Aria, not a day goes by where I don't hate myself for what I put you through.

ARIA

You don't have to hate yourself. It happened, it's over. It turns out I'm just not as at peace with it as I thought I was.

Ezra stands. He paces a few steps, runs a hand over his face before he speaks.

EZRA

And there's nothing I can do to help you through this? Help you realize that you really are safe with me?

Aria takes a deep breath. It's harder for her to get the next words out than she expected.

ARIA

The biggest way you can help is by staying away. For a while.

A tear rolls down her cheek.

ARIA (CONT'D)

I'm not saying it's forever.

EZRA

Why are you telling me all of this if I can't change your mind?

Aria stands as well. She moves as if to take a step toward him, then seems to think better of it.

ARIA

I thought you deserved an explanation.

INT. DR. SULLIVAN'S OFFICE - WAITING ROOM - DAY

DR. SULLIVAN is just stepping out of her office, phone in hand, when Hanna ENTERS through the door. She's hurried and slightly out of breath.

HANNA

Hi.

DR. SULLIVAN

Hanna, I was just about to call. Your appointment time's almost half over.

HANNA

I know, I'm sorry. Something just came up at home, at the last minute.

DR. SULLIVAN

I'm glad you're here. Come in, let's talk.

She waves Hanna into her office.

INT. DR. SULLIVAN'S OFFICE - DAY

Dr. Sullivan takes a seat in her swivel chair. Hanna hesitates, but eventually sinks down onto the couch across from her.

DR. SULLIVAN

I wasn't surprised when you called to make an appointment. In fact, I wish the others would, too. You can only give each other so much support after something so terrible.

HANNA

Yeah, well, you really helped me before, with Alison's death.

DR. SULLIVAN

In what way?

HANNA

I don't know. Perspective? Finding a different way to look at things when it seems like they can't get any worse.

DR. SULLIVAN

And is that how you've been feeling now? Like things can't get any worse?

It takes Hanna a moment to consider her answer.

HANNA

Yeah. I do. And I know it's stupid. I'm above ground. I'm free.

DR. SULLIVAN

You've also just been through trauma that most people couldn't even imagine. Nothing that you're feeling right now could ever be stupid.

HANNA

I guess.

DR. SULLIVAN

I'm sure it's complicated, but can you find a few words to describe to me how you are feeling?

HANNA

Afraid. Jumpy. Guilty.

Dr. Sullivan latches onto that last one.

DR. SULLIVAN

Hanna, what I hope I can help you understand is that you need to feel absolutely no guilt for what you went through. It was -

HANNA

I don't feel guilty over the kidnapping.

Dr. Sullivan sits back, surprised.

DR. SULLIVAN

Can you explain what you mean?

It's now or never. Hanna takes a deep breath. The words want to stick in her throat.

HANNA

When I was younger, I used to control food whenever I didn't feel like I could control anything else. I thought I'd gotten over it, but...it's back now.

It's like a weight has been lifted from her shoulders. She sneaks a peek at Dr. Sullivan, who's nodding in understanding.

INT. CECE'S APARTMENT - DAY

The inside of the apartment is bare and clearly a temporary living situation. Emily and CeCe stand facing each other. Emily watches as CeCe flips through the Radley file, an unreadable look on her face.

EMILY

Is it you? The girl in the file?

CECE

How did you even find this?

EMILY

It is you, isn't it?

CeCe closes the file and sets it on a milk crate-turned-end table.

CECE

That's not an answer.

Emily pauses. She wants to choose her words carefully.

EMILY

We think that the person who kidnapped us might have a connection to Radley. Alison accidentally found your file when she was looking for theirs.

CECE

(sarcastic)

Wow, the Scooby gang's got nothing on you.

(a beat, then)

Yes. It's me.

EMILY

You were in Radley?

CECE

I was angry as a kid. Turns out all of that rage was actually a good old-fashioned personality disorder. Not that my parents cared. They threw me in that place at the first sign of trouble, and didn't want anything to do with me after I got out at seventeen.

EMILY

So you're...better now?

CECE

Your brain doesn't ever really get better, sweetie. But if you're asking if I'm crazy, no. In fact, I never felt crazier than when I was locked behind those walls.

Emily moves closer to her, practically buzzing with excitement that she's found a possible lead.

EMILY

Do you remember anything about a boy named Charles? When you were in Radley?

CeCe thinks for a second.

CECE

Name doesn't ring a bell. Even as kids, boys and girls were kept pretty separate. So why do you think this person's after you?

EMILY

It's a long story. We were hoping his file might give us some more information, but almost everything on it is blacked out. Like, with a marker.

CECE

Redacted.

EMILY

Yeah. It left us with more questions than answers. That's why I wanted to track you down. I thought that maybe you'd know what happened to Charles.

A dark cloud has passed across CeCe's face. She looks almost haunted by the time Emily's finished speaking.

CECE

I can't help you there. But if there was information in his file that Radley didn't want anyone seeing, I think I have a pretty good idea of what it was.

End of Act Four.

ACT FIVE

INT. MELISSA'S APARTMENT - BEDROOM - EVENING

Spencer is kneeling beside the bed. The comforter has been lifted up, and she's digging through a box that she's pulled from underneath the bed. The landline is cradled between her ear and shoulder.

SPENCER

I looked into it. You can't study medicine at Oxford if you're transferring from another school.

HANNA (V.O.)

What, why?

SPENCER

Who cares? The point is, his story doesn't add up.

EXT. MAIN STREET - EVENING

Hanna shuts the door to Dr. Sullivan's office and starts walking toward her car. Her eyes are red-rimmed, but she's standing taller than she has in days.

HANNA

Okay, so maybe he's just remembering wrong. What's the big deal?

SPENCER (V.O.)

You didn't see the letter that I found.

INT. MELISSA'S APARTMENT - BEDROOM - EVENING

Spencer shoves the box back under the bed and grabs another one.

SPENCER (CONT'D)

It was written on Radley stationary. And it was intense. Talking about things they did there, things that scarred him.

HANNA (V.O.)

And how do you know Wren was the one who wrote the letter?

SPENCER

It was in an unmarked envelope. Like it hadn't been sent yet.

EXT. MAIN STREET - EVENING

Hanna reaches her car and grabs the door handle. She's frustrated by Spencer's theories.

HANNA

Spencer, that letter could mean a million things. Anyway, if you really think Wren could be Charles, is snooping around in his stuff really such a good idea? What if he catches you?

INT. MELISSA'S APARTMENT - BEDROOM - EVENING

Spencer scoops a stack of papers out of the box and dumps them to the side.

SPENCER

He and Melissa had tickets to some show tonight. I'm safe for a few hours.

HANNA (CONT'D)

Just be careful.

SPENCER

I will. I'll text you a picture of the letter as soon as I can convince Melissa to let me use my phone. You'll see what I mean.

She hangs up and sets the phone aside, then continues hunting through the storage boxes. A picture frame lies, upside down, at the bottom of the box. She pulls it out and turns it around.

CLOSE-UP on a diploma for Wren Kingston, from the school of medicine at Temple University. Spencer nearly drops it in shock. She looks up at the wall, where Wren's diploma from Oxford hangs. They're dated with the same month and year.

EXT. RADLEY SANITARIUM - EVENING

Emily, Mona, and Alison stand along the side of the building, beside a row of cracked windows. Their arms are wrapped around themselves in the chilly air. It looks like they've been waiting for a while.

ALISON

I can't believe that file was really CeCe's.

MONA

I can't believe she actually admitted it.

EMILY

She seemed eager to bring me here. Like she finally had to get it off of her chest.

Alison shakes her head, seeming disturbed.

ALISON

God, we were so close for so long. She lied to me about her whole life, and I never suspected a thing.

EMILY

I just don't understand why she kept it such a big secret.

MONA

Speaking from experience, being locked up in here doesn't exactly feel like something to brag about.

ALISON

Why couldn't she just tell you what she thinks Radley did to Charles?

EMILY

She said she wanted me to get the full effect.

The window beside them swings open with a CREAK, and all three of them jump. CeCe leans out.

CECE

Not a soul in sight. Come on, hurry.

Emily, Mona, and Alison climb inside.

INT. RADLEY SANITARIUM - HALLWAY - EVENING

CeCe waits until they've all scrambled in through the window. Then she reaches over and pushes it shut. The lock is clearly broken.

MONA

Wow, even I didn't know about this way in.

CECE

They closed off this wing back when I was still a patient here. But everyone knew this was the best way to sneak out for a few hours.

ALISON

Why did they close it off?

CECE

Because the board of health got a little too close to discovering what's behind this door.

She stops in front of an old-looking door that's padlocked shut. She picks it with ease as the others watch, then pushes it open. Emily exchanges an uneasy look with Alison.

INT. RADLEY SANITARIUM - EXPERIMENTATION ROOM - EVENING

CeCe leads the girls into a long, narrow room. It's almost pitch-black. Mona flicks on her flashlight, and a large switchboard is illuminated, right in front of them. A helmet with electrodes sticking out of it sits on the table beside it.

MONA

Oh my god.

EMILY

What is all this?

CeCe looks around the room, disgusted.

CECE

Radley's dirty little secret.

EMILY

Wait. They used this stuff on the patients?

CECE

Kids, mostly.

She runs her finger along the edge of the switchboard. Dust swirls through the air.

CECE (CONT'D)

I was lucky enough not to be one of them. But it was common knowledge that if a staff member pulled you out of group and told you they needed you for a special game, this is where you'd be taken.

ALISON

So what, this is some sort of psychological experiment?

CECE

That was the rumor. Studying brain waves, the effects of electric shock therapy...I knew a few girls who went through it. They were never the same afterward.

Mona examines the switchboard, looking almost impressed.

MONA

And all of the people who had to have known about this? It's amazing they pulled it off for as long as they did.

Alison reaches for the helmet, then pulls away. She's revolted.

ALISON

And you think Charles was one of Radley's victims?

CECE

Based on what Emily told me about his file, there's a good chance.

She takes in the horror on Alison's face.

CECE (CONT'D)

He's the little boy from the picture you showed me, isn't he?

ALISON

My brother.

CECE

I'm sorry, Ali.

ALISON

God, and my mom was on the board here. She had to have known this was going on. And she let it happen.

MONA

Well, if Charles is still alive, and if he really is "A," I guess this explains why he's so off his rocker.

EMILY

Geez, Mona.

MONA

I was a patient here too, I'm allowed to joke.

ALISON

I'm glad this is so funny to you.

She whirls around, growing angrier by the second. Mona just rolls her eyes, unaffected.

ALISON (CONT'D)

What else is back here?

CECE

It looks like just file cabinets, all the way to the back wall. Probably records of their little games.

EMILY

God, this whole thing is so sick.

ALISON

Poor Charles.

She looks near tears. Emily puts a hand on her arm.

EMILY

We don't know for sure that he went through this.

ALISON

Even if he didn't, he still had to suffer in this awful place.

She shoots a glance back at CeCe.

ALISON (CONT'D)

Just like you did.

CeCe doesn't respond. She's squinting at something across the narrow room.

EMILY

What is it?

CECE

Give me that flashlight.

Mona hands it to her, and she shines it against the back wall. Everyone GASPS.

MONA

When did that get there?

EMILY

How does he know we were coming here?

Under the glow of the flashlight, the blood red writing on the back wall is illuminated: _"I'M NOT GIVING UP THIS EASILY. WATCH YOUR BACK, BITCHES. -A"_

Emily, Mona, Alison, and CeCe exchanged horrified looks. "A" has come out of hiding.

ALISON

We have to get out of here.

They run for the door without a second glance, and we PAN BACK around to the eerily familiar, blocky handwriting.

INT. "A'S" LAIR - INDETERMINATE TIME

_Scene is shot from "A's" POV:_

A pair of black-gloved hands rest on a wood table, in the process of balancing a checkbook as "Wheel of Fortune" blares in the background. In blocky, shaky writing, they write out a line for $50,000.

End of Act Five.


	6. 6x06 - "Filthied Hearts and Souls"

**Notes for the Chapter:**

> Feedback is always appreciated!

SEASON 6, EPISODE 6: "FILTHIED HEARTS AND SOULS"

TEASER

FADE IN:

INT. HASTINGS HOUSE - LIVING ROOM - DAY

SPENCER, ARIA, HANNA, and EMILY are crowded around the coffee table, gazing down at WREN's diploma from Temple University, as well as Spencer's tablet, which displays a picture of the framed Oxford diploma.

SPENCER

They're dated only two days apart.

HANNA

Wren got two degrees in the same subject from two different schools? God, he must have been loaded.

SPENCER

No, Hanna, that's not possible.

EMILY

But why would Wren lie about going to Oxford?

SPENCER

And if he lied about that, who knows what else he's hiding? For all we know, he might never have lived in London at all.

HANNA

Wait, so even his accent might not be real?

She looks more disturbed by that than anything else. Aria studies the diplomas carefully.

ARIA

If he was willing to go so far as to actually make a fake diploma, he must really not want his real identity getting out. Why?

EMILY

Well, his name's the same on the real one.

HANNA

If that even is real.

ARIA

We should look him up online.

SPENCER

I did as soon as I got back. There's nothing. Like, oddly nothing.

EMILY

He must have changed his name before he graduated.

Spencer sinks down onto the sofa. She looks exhausted.

SPENCER

I barely slept the whole time I was staying there. I just kept thinking about sleeping feet away from Charles.

HANNA

I don't care what Ali says. I don't believe he's really dead.

SPENCER

Yeah, and he might be dating my sister.

Emily stands and paces a few steps back and forth.

EMILY

If Wren is really Charles, and he really went through those experiments CeCe showed us, it explains why he'd have an interest in medicine.

ARIA

Yeah, but why would Wren...Charles...whoever, want to work at Radley if he was tortured there when he was little?

HANNA

There must be more to the story.

Her phone BEEPS, and she checks the screen.

HANNA (CONT'D)

It's my mom. She says Principal Hackett needs to meet with us.

ARIA

On a Saturday?

EMILY

How come?

HANNA

How should I know?

SPENCER

It must have something to do with your scholarship donor.

Hanna SIGHS and gets to her feet.

HANNA

Maybe he realized I'm not worth the $50,000. One of you call me when you figure out what we're gonna do about Wren.

She EXITS the living room. Just as we hear the sound of the front door shutting, we cut to -

INT. ROSEWOOD HIGH SCHOOL - PRINCIPAL'S OFFICE - DAY

PRINCIPAL HACKETT opens the office door to find Hanna and ASHLEY standing on the other side.

PRINCIPAL HACKETT

Thank you for coming down. Come in, please.

He steps aside and waves them in. He sits down behind his desk, and they take the seats across from it.

ASHLEY

What's this about?

PRINCIPAL HACKETT

Ms. Marin, I'm sure you're aware that Hanna scored exceptionally high on last year's SAT?

Ashley is instantly on-guard.

ASHLEY

This isn't going to be another cheating accusation, is it?

PRINCIPAL HACKETT

No.

Ashley and Hanna are both visibly relieved, until -

PRINCIPAL HACKETT (CONT'D)

No, we're far beyond accusations this time.

HANNA

What?

PRINCIPAL HACKETT

I received a call from the College Board's regional office. They have reason to believe that someone hacked into their data and illegitimately raised your scores.

Hanna is aghast. She exchanges a horrified look with Ashley before we -

CUT TO BLACK.

End of Teaser.

ACT ONE

INT. MONTGOMERY HOUSE - DINING ROOM - DAY

Spencer and Aria sit at the dining room table, shoulder-to-shoulder, Spencer's laptop open on the table in front of them. They look bored as they scroll through searches.

ARIA

Have you heard anything more from Hanna?

SPENCER

Not since she called me from the school bathroom in a panic. She and her mom are probably still meeting with Hackett.

ARIA

I mean, this has to be "A," right?

SPENCER

Yeah, unless Hanna's mom decided she really would do anything she could to get her into college. And I think now we know where that scholarship came from, too.

Aria sits back, looking a little sick.

ARIA

God, "A" practically handed college to her, and then just snatched it away.

SPENCER

I guess the mind games really aren't over. Now they're just from afar.

Aria leans closer to the computer. She shakes her head in astonishment.

ARIA

You're right. It's like Wren Kingston never existed.

SPENCER

Well, at least not before he finished medical school. His name's mentioned in connection to the hospital here, but that's it.

ARIA

What about Temple's website? Maybe there's some alumni database we can look into.

Spencer hits a few keys on the laptop, bringing up the university webpage. They both look closely.

SPENCER

No database. But look.

ARIA

What?

SPENCER

They're having an event for local alumni this afternoon, right on campus.

Her eyes are shining. Aria is dubious.

ARIA

What, and you think Wren's just gonna show up wearing a name tag that says "Charles"?

SPENCER

I don't think Wren's going to show up at all. But we don't need him to. All we need to do is find a few other people from his graduating class.

Finally, Aria seems to understand where Spencer's going with this.

ARIA

And then we can find out who he was before he became Wren Kingston.

INT. THE BREW - DAY

Hanna sits at one of the small circular tables. Her arms are folded on the table, and she looks sick. She barely looks up when CALEB sits down across from her and places a mug of coffee in front of her.

CALEB

What else did Hackett say?

HANNA

I don't know. My brain went into overdrive as soon as he mentioned the police getting involved.

CALEB

Hanna, the cops know about "A" now. They'll figure out that you're being set up.

HANNA

And what if they don't?

Caleb doesn't have an answer.

HANNA (CONT'D)

For one second, I actually let myself believe that I could get away from here and start fresh. And now I'm gonna be stuck in this hellish town forever. Caleb, I might even end up right back in jail!

Caleb tries to comfort her, but there's worry in his eyes that he can't conceal.

CALEB

There's no way I'm going to let that happen.

HANNA

How? You couldn't stop it last time.

CALEB

This is different. We know it's coming. All we have to do is find the IP address of the person who actually hacked your scores.

Hanna takes a long sip of coffee before answering. She's not nearly as confident as he sounds.

HANNA

You really think it's gonna be that easy?

Caleb hesitates. Something is brewing behind his eyes.

CALEB

It's all we've got.

INT. MONTGOMERY HOUSE - ARIA'S BEDROOM - DAY

Aria stands in front of the mirror, finishing tucking her blouse into her skirt. Through the mirror, we see ELLA appear in the doorway.

ELLA

You look nice.

ARIA

Thanks.

She sits down on the edge of the bed and starts pulling on a pair of bright blue high heels. Ella watches her.

ELLA

I know you're not wearing that to catch up on schoolwork at Spencer's.

Aria's hand stalls on the strap of the heel. There's a slightly too-long pause as she comes up with a lie.

ARIA

Uh, no. There's a prospective student event at Temple today. Spencer applied there, and she asked me to go with her.

ELLA

Okay, and when did you plan on telling me that you're going into the city?

Aria is momentarily speechless.

ARIA

I didn't know you were home. I was going to text you from the car.

She checks her phone and stands, shoes on.

ARIA (CONT'D)

Spencer's out front. I'll call you later to check in, okay?

She heads for the door. Ella turns to face her.

ELLA

Aria.

Aria turns back, already knowing what's coming.

ELLA (CONT'D)

No. It's not okay.

ARIA

What do you mean?

ELLA

I mean that I'm not okay with you running off to Philadelphia without my permission.

ARIA

Your permission? Mom, do you know how many times my friends and I have gone into the city? Without you even knowing?

ELLA

Oh, I'm sure you have. And I'm not thrilled about that, either. But that was before there was a person out there who wanted to make you into his own doll.

Aria can't help but scoff at this.

ARIA

There's always been someone who wanted to do exactly that. You just didn't know about it until now.

ELLA

You're right. I didn't, because you hid that from me, too. But now that I do know, we need to reestablish the rules in this house.

ARIA

What, I'm not allowed to go out until Charles is behind bars? I need to have my life back, Mom.

ELLA

You can have your freedom, within reason. But you and Spencer running around the city alone isn't included in that. And I'm sure Veronica would feel the same way.

Aria is beginning to get angry. She needs to get out of here.

ARIA

You can't make rules like that. I'm eighteen, I can go where I want.

ELLA

You also still live under my roof.

Aria rolls her eyes and turns to leave again. Ella calls after her -

ELLA (CONT'D)

Aria, do not walk out that door.

Aria whirls back around. She's furious now.

ARIA

Or what?

ELLA

When you were found, the police offered twenty-four hour protection to all of you. I am more than happy to take them up on that.

ARIA

You can't be serious. I just got my freedom back and you're taking it away again?

Ella finally can't take it anymore.

ELLA

I am trying to keep you safe, Aria! Take off those shoes, you're not going out today.

ARIA

Mom -

ELLA

That's enough. When you're ready to talk about actual boundaries, I'm happy to.

She storms out of the room. Aria slams the door, then lets out a breath and grabs her phone. There's a new text waiting from Spencer: _Are you coming?_

Aria looks up at her closed bedroom door, then responds: _I'm coming. Just give me a few more minutes._

INT. FIELDS HOUSE - LIVING ROOM - DAY

Emily sits on the sofa, flipping through an old scrapbook filled with pictures of her and her friends. In one picture, Hanna and Spencer are crossing their eyes at the camera. In another, Emily, Aria, and ALISON hold their hair above their lips like mustaches.

Emily turns the page, which is worn thin from years of use. She stops on a photo of the five girls huddled together on the school's front steps, bundled up in coats and red-nosed from the cold, but beaming.

As if on cue, Emily's phone begins to BUZZ. The screen displays Alison's name. Emily looks from her phone to the scrapbook. She moves to answer the call, but before she can, the DOORBELL RINGS, startling her.

Emily drops her phone and goes to answer the door. As soon as she opens it, her mouth drops open in shock. We PAN AROUND to see PAIGE standing on the front porch.

EMILY

Paige?

End of Act One.

ACT TWO

EXT. FIELDS HOUSE - FRONT PORCH - DAY

Paige sits on the porch swing. Emily steps outside, holding two mugs of tea. She hands one to Paige and sits down beside her.

PAIGE

I'm sorry for just showing up like this.

EMILY

I'm not mad that you're here. I just wish you'd told me you were coming.

PAIGE

I tried to call. A few times. And when you didn't answer, it just made me even more worried.

EMILY

Yeah, I planned on calling you back. I just knew that you'd want to talk about everything. What happened to me. And I wasn't ready to talk about it.

PAIGE

Are you ready now?

EMILY

Not really.

They go quiet for a moment. The atmosphere between them is awkward, unsure.

EMILY (CONT'D)

But what I am ready to do is move forward. To finally end this.

Paige starts to reach for Emily's hand, but hesitates and pulls back away. Emily doesn't seem to notice.

PAIGE

Just tell me what I can do to help.

Emily meets her eyes, considering this.

INT. MONTGOMERY HOUSE - MIKE'S BEDROOM - DAY

Aria yanks open the window. She glances furtively behind her, then grabs hold of the tree branch just outside of the window and pulls herself out, shoes in hand.

INT./EXT. RESIDENTIAL STREET - SPENCER'S CAR - DAY

Spencer leans back in the driver's seat, bored. After a moment, the passenger door opens, and Aria slides in. Amused, Spencer reaches over and pulls a leaf from her hair.

SPENCER

Do I even want to ask?

ARIA

My mom chose today to go all full-blown overprotective. Thank God for that tree outside Mike's window.

SPENCER

You snuck out?

ARIA

This is important. Now go, before she sees your car.

She pulls on her seatbelt, and Spencer hits the gas. The car glides onto the street.

INT. CALEB'S APARTMENT - DAY

Caleb sits at the desk, leaning intently toward the computer screen. Hanna is pacing back and forth next to him. She's a nervous wreck.

HANNA

This is a bad idea.

CALEB

If you have an alternative, I'd love to hear it.

She walks over and grabs his hand, pulling it away from the mouse.

HANNA

Caleb, this is my nightmare. You shouldn't get wrapped up in this.

CALEB

As long as "A's" going after you like this, it's already my nightmare.

He gives her hand a squeeze.

CALEB (CONT'D)

And no offense, Hanna, but there's no way you'd be able to figure out where the hack originated from.

HANNA

And you think it'll be that easy for you to find it? Charles isn't stupid. What if he changed my scores from a computer at, like, the library or something?

CALEB

You need more than just Internet Explorer to hack into the College Board. I really don't think we have to worry about that.

Hanna's flown back into worry mode. She starts pacing again.

HANNA

Okay, and if the board or whoever figured out that Charles hacked into their data, won't they just bust you for the same thing?

CALEB

The only reason they found out about in the first place is because your scores were changed. I'm not altering anything. I'm just taking a look around, like looking through a window.

Hanna is pacified - but only slightly. She moves to stand behind him and watch over his shoulder.

HANNA

And you're sure you can figure it out?

Caleb twists around to give her a dry look.

CALEB

Hanna, I once broke into Mona's computer. This is nothing.

EXT. TEMPLE UNIVERSITY - ARBORETUM - DAY

The lush garden is filled with students milling between tents and tables. Everyone is sharply dressed, around their mid-to-late twenties.

We PAN OVER to the entrance. Spencer and Aria lurk a few feet away from the check-in table, peering around.

ARIA

What if they figure out we're not really alumni?

SPENCER

The website said no reservations were necessary. There's no way they'll have a list of every student.

ARIA

Alright, let's go.

They walk up to the check-in table, which is covered with pens and blank name tags. The CHECK-IN GIRL beams up at them.

CHECK-IN GIRL

Your names and graduation years?

Spencer and Aria exchange a quick look. Is this over before it even started?

SPENCER

Uh, I'm Cynthia Dryer, class of 2010.

ARIA

Eloise Greene, same year.

The check-in girl looks at them blankly for a long moment. They hold their breath. Then she smiles brightly again.

CHECK-IN GIRL

Wow, you both look so young. Okay, just make sure you fill out a name tag before you head in.

She turns to two other arriving guests, and Spencer and Aria exchange a look of relief as they bend down to scrawl their fake names on the name tags. They stick them on their shirts and walk into the arboretum, staring around at the hordes of former students.

SPENCER

Ready to track down some former med students, Eloise?

ARIA

Let's mingle, Cindy.

She strides off.

SPENCER

It's Cynthia. Isn't it?

She glances down at her name tag to double check, then rushes after Aria.

INT./EXT. HARVEY HOUSE - EMILY'S CAR - DAY

Emily and Paige sit in the car, peering through the window at the modest, single-story house they're parked in front of.

PAIGE

And the girl who lives here was trapped down there with you?

EMILY

We never saw her, not until we got out. But yeah, she was kidnapped right around the time Alison went missing.

PAIGE

More than two years ago? How long has this "A" been in the picture?

EMILY

Apparently a lot longer than we thought.

There's a beat of quiet as they continue to look thoughtfully at the house.

PAIGE

So what's the plan?

EMILY

Up until a few days ago, Sara was convinced she was really Alison. She was in that bunker for years, she has to know something. And now that she's back to herself, maybe we can get it out of her.

PAIGE

And you think she'll tell you?

EMILY

She seems to trust me, at least a little. Or at least she did when she thought she was Ali. I have no idea how she'll react now, that's why I didn't want to go alone.

Paige seems a little unsettled by this. Emily watches her cautiously.

EMILY (CONT'D)

Are you sure you want to do this?

Paige thinks for a moment, then gives a resolved nod.

PAIGE

I came here to do what I can to help you. I'm not stopping now.

Emily smiles appreciatively. Then they exchange one last look before getting out of the car and starting for the house.

EXT. TEMPLE UNIVERSITY - ARBORETUM - DAY

Scene cuts between Spencer and Aria mingling amongst the university alumni.

SPENCER

Of course I lived in Hardwick. Who didn't, right?

CUT TO:

ARIA

Wow. Six whole figures?

CUT TO:

SPENCER

I sat behind you in philosophy for an entire semester. You seriously don't remember me?

CUT TO:

ARIA

What law firm do I work for? Um. Which one do you work for?

EXT. TEMPLE UNIVERSITY - ARBORETUM - DAY

Spencer stands near a table filled with a spread of finger food. She's sipping at a glass of iced tea when Aria appears beside her with a SIGH.

ARIA

I have never been happier that I have no interest in going to law school.

Spencer makes a face.

SPENCER

Well I do, so I'm glad I wasn't talking to whoever you were. Did you find out anything about Wren?

ARIA

No, nothing. I swear, it really is like Wren Kingston never existed.

Suddenly, a voice speaks from behind them -

BENJAMIN

Did you just say Wren Kingston?

Spencer and Aria exchange a glance, then turn. BENJAMIN and AINSLEY, two sharply-dressed young adults, stand behind them, both holding glasses of wine and staring right at them.

BENJAMIN (CONT'D)

Oh, he definitely existed.

Spencer and Aria look from the two alumni to each other as we -

CUT TO BLACK.

End of Act Two.

ACT THREE

INT. HARVEY HOUSE - LIVING ROOM - DAY

Much like the house's exterior, the living room is minimalist but comfortable. Emily and Paige sit side-by-side on the sofa. Across from them is SARA, perched on a straight-backed chair. She looks uncomfortable in her own skin, but her eyes are clear.

EMILY

I hope you don't mind us just stopping by.

SARA

I don't mind. I'm glad you did.

She shifts awkwardly and shoots a glance over at Paige. Emily notices.

EMILY

Oh, this is my friend Paige. She's visiting from out of town.

PAIGE

Hi.

SARA

Hi. I'm Sara.

The name comes out clumsily. The tension in the air between the three of them is palpable.

EMILY

So you've realized that you're not really Alison?

SARA

I think it was Avery that really snapped me out of it. We were so close before I went miss -

She stops herself, takes a breath, and continues forcefully.

SARA (CONT'D)

Before I was kidnapped. I guess seeing her finally jolted my memory loose.

PAIGE

I have an aunt that doesn't live far from here. I remember her talking about your disappearance right when it happened.

SARA

My mom told me almost nobody did. Apparently a rich girl from Rosewood vanishing trumped some random nobody from Cortland.

Her voice is harsh, but there's a sadness behind it. Emily touches her arm.

EMILY

How are you doing? Being free again?

SARA

It's like I have to figure out how to live all over again.

Emily and Paige go quiet. There's no good response to that.

SARA (CONT'D)

I can see it in your eyes. You're not just here to check up on me.

EMILY

That is why we're here.

Sara looks at her. Emily SIGHS.

EMILY

Okay. I was also hoping you'd remember something, anything, about the person who kidnapped us. You were down there for so long. Did you ever see them? Hear them?

SARA

Whoever kept me down there was pretty good at staying hidden.

EMILY

But no one's perfect.

SARA

No. No one's perfect.

She averts her eyes. Emily leans forward intently.

EMILY

Does the name Charles seem familiar to you?

Immediately Sara's head snaps back up. Emily and Paige are startled.

SARA

How do you know that name?

EMILY

It was spelled out by the blocks in the playroom. We think it's the name of Alison - the real Alison's - brother. Or if not him, then someone who knew him.

Sara stares at her. It becomes almost uncomfortable. Then, as if a switch has been flipped, she looks away again.

SARA

If I knew anything, I would have told the police by now.

EMILY

Are you sure? Because -

SARA

I don't know anything!

PAIGE

Emily.

Sara is obviously becoming agitated. The look in her eyes is similar to when Emily visited her in the hospital. Even so, Emily isn't willing to give up.

EMILY

Sara. Please. You were down there longer than any of us, he had to have made at least one mistake. Please try and think.

SARA

If I'd known you were coming here to interrogate me, I never would have answered the door.

EMILY

No one's interrogating you, okay, I'm just trying to make sure that the person who trapped you underground for two years can't do it again.

Sara is panicked now. She jumps to her feet.

SARA

Get out.

EMILY

Sara.

SARA

I want you to leave!

Paige stands and grabs Emily's arm, pulling her up.

PAIGE

Emily, come on.

Emily stares at Sara for another moment, breathing hard. Finally she relents and exhales as Paige pulls her to the door. Sara stalks over and flings it open. Emily looks back at her, her expression confused and almost angry, as Paige tugs her out the door.

Sara slams the door shut behind them. As she does so, the sleeve of her shirt falls, revealing thin, red cuts on her inner arm. Noticing this, she runs her finger lightly along one of the lines.

INT. THE BREW - DAY

Hanna hands over a few bills to the BARISTA and is given two cups of coffee in return. There are dark, tired circles under her eyes. She turns just in time to spot TOBY at the other end of the counter, dressed in uniform and being handed a filled coffee carrier. She walks over and nods at it.

HANNA

Still making coffee runs?

TOBY

At this point, I think I'll be considered the rookie forever.

He looks down at the coffees in her hands.

TOBY (CONT'D)

Is one of those for Caleb?

HANNA

Yeah.

He keeps looking at her. She finally notices the pity in his expression.

HANNA (CONT'D)

You know about the SAT scores, don't you?

TOBY

Hackett filled in Tanner and a few other officers. They're working with a cybersecurity team.

Hanna is numbly horrified.

HANNA

Part of me hoped he was bluffing about telling the cops.

TOBY

It's a pretty serious crime. Not something the school board can vote on.

HANNA

I didn't do it, Toby.

He holds his hands up in a "surrender" position.

TOBY

Trust me, I know. And the cops will figure it out, too. Now that they know "A" has been after the four of you all along, they're not going to discount everything you say anymore.

Hanna rolls her eyes, not even trying to hide her disgust.

HANNA

Nice to have it confirmed that's what they were doing all along.

TOBY

I might not agree with Tanner on everything. But she's on your side now. And you know I always have been. We'll find out where the hack came from. And maybe this is just what it'll take to finally track down Charles.

Hanna isn't as sure as he seems to be, but she gives him a smile in return.

EXT. TEMPLE UNIVERSITY - ARBORETUM - DAY

Spencer and Aria stand facing Benjamin and Ainsley. Their expressions are wary, cautious, but showing just a glimmer of hope.

SPENCER

You knew Wren?

AINSLEY

We were both in the medical program with him, same year.

BENJAMIN

We spent just about every day with him for four years.

AINSLEY

You two weren't med students, were you? I don't remember you.

ARIA

No, no, we weren't.

BENJAMIN

Then how do you know Wren?

Aria and Spencer exchange a look. They hadn't thought this far into the lie.

SPENCER

Uh, he's dating my sister. He was actually the one who originally convinced me to apply here.

AINSLEY

I'm not surprised. Wren loved it here, more than any of us.

SPENCER

And you knew him the whole time you were in medical school?

AINSLEY

Longer. We both went to undergrad here together, too.

Spencer and Aria can barely hide their surprise. This is getting more complicated than they expected.

ARIA

Hey, did Wren ever mention having a brother? A twin?

Spencer gives her a look - too obvious? But Benjamin and Ainsley are exchanging a glance filled with meaning.

BENJAMIN

I don't remember him ever mentioning a brother. But he was a pretty private kind of guy.

AINSLEY

We sure knew about his sister, though.

ARIA

Sister?

AINSLEY

Yeah. None of us could tell if he had a soft spot for her or actually hated her. But she was the only person in his family he ever talked about.

SPENCER

What kinds of things did he say about her?

BENJAMIN

How manipulative she was. How she treated their whole family like her own little puppets.

AINSLEY

Way beyond your typical sibling complaints. He told us he didn't have contact with her, but it sounded like she made the rest of his family's life pretty miserable.

Again, Spencer and Aria exchange a glance. This is all beginning to sound very familiar.

BENJAMIN

But then about a year before we started our residencies, he never said another word about her. Went from telling stories at every opportunity to completely tight-lipped.

AINSLEY

It was like she just fell off the face of the earth. Or like she never existed at all.

Benjamin gives her a nudge.

BENJAMIN

Maybe she found out he'd made her into our class' own personal legend.

Suddenly he frowns, as if something has just occurred to him. He turns back to Spencer and Aria thoughtfully.

BENJAMIN (CONT'D)

Why are the two of you so curious about Wren?

He nods at Spencer.

BENJAMIN (CONT'D)

You said you know him, shouldn't you already know all this?

The girls both freeze. They're caught. Spencer scrambles for an answer.

SPENCER

Uh...

Suddenly, a SCREAM cuts through the air.

ALUMNUS

Oh my god!

Spencer, Aria, Benjamin, and Ainsley all whip around. A tree along the edge of the grounds is swaying violently side-to-side. Before anyone can react, its trunk CRACKS, and it begins to fall. People scramble to get out of its way, SCREAMING. The tree hits the grass with a CRASH. Its leaves, along with the leaves and flowers of nearby bushes, swirl through the air.

Spencer and Aria look around, transfixed, at the brightly-colored array of leaves that fill the air. As the air begins to settle, alumni and event planners gather around, staring and murmuring at the fallen tree.

Just as everything is beginning to go quiet, a METALLIC VOICE crackles through the speakers that have been placed around the arboretum.

METALLIC VOICE

You thought I wouldn't find out about this? You thought it would be safe to go back to our old game of hide and seek?

The planners are in a frenzy. Guests are terrified, gazing around, still backing away from the fallen tree.

EVENT PLANNER

Where is that coming from?

ASSISTANT

I don't know!

Aria grabs Spencer's arm.

ARIA

It's Charles.

METALLIC VOICE

The games are over, little liars. And I will get you back.

The voice cuts out with a SHRIEK of static. Everyone is unnerved, a few people near hysterical. Spencer and Aria are gripping each other in terror.

SPENCER

Charles is here. He followed us.

ARIA

We have to get out of here.

They begin backing away, past Benjamin and Ainsley, who are trying to talk over the commotion. They've only made it a few steps when a hand falls onto Spencer's shoulder. As soon as it makes impact, she CRIES OUT and whirls around to find TANNER standing behind her, flanked on either side by two POLICE OFFICERS.

TANNER

Well, it looks like we got here at just the right time.

End of Act Three.

ACT FOUR

INT. ROSEWOOD POLICE STATION - OFFICE - EVENING

Spencer, Aria, Emily, and Hanna sit in a row of chairs in front of the desk. Ella and VERONICA stand in the corner of the room, talking quietly.

HANNA

Where's Mona?

SPENCER

She's out of town with her mom.

She and Aria both looked pale and spooked.

EMILY

Charles really followed you to Philly?

ARIA

You mean Wren. Wren followed us to Philly.

HANNA

Wait, now you're so sure he's "A"? What happened at the alumni event, did you talk to someone?

Spencer and Aria exchange a knowing look. Spencer's just taking a breath to start explaining when the door opens and Tanner ENTERS. Everyone goes quiet. She takes a seat behind her desk, and Ella and Veronica move to stand behind their daughters' chairs.

TANNER

I was just on the phone with the head of security at Temple. They've locked down the campus and are searching every building for any sign of the person who committed this stunt.

VERONICA

What I want to know is what you're going to do to make sure that these girls are kept safe.

TANNER

It was our hope that with the public - and the police - aware of the girls' kidnapper, that person would feel forced into hiding. The events that took place today have proven that to be untrue.

HANNA

Yeah, I'll say.

TANNER

When you first returned to Rosewood, all five of you were offered extra police protection. That is no longer a suggestion. I'm assigning officers to be stationed outside of each of your houses twenty four hours a day until your kidnapper is found and taken into custody.

EMILY

What about Ali? Shouldn't she be protected too?

TANNER

Given what we know about the possible connection between the kidnapper and the DiLaurentis family, we'll be extending the offer of security to their household as well.

ELLA

Thank you, Lieutenant. We've very grateful you were there today.

TANNER

We wouldn't have been if you hadn't alerted us to your daughter's disappearance.

Aria whips around to stare at her mother, shocked. Ella avoids her gaze.

INT. ROSEWOOD POLICE STATION - HALLWAY - EVENING

Aria storms out of Tanner's office and down the hallway. Ella follows her. Behind them, the other mothers and Liars slowly exit the room, glancing after them.

ELLA

Aria. Aria, wait.

Nearly at the end of the hallway, Aria stops and spins around. Her face is red and furious.

ARIA

You seriously called the police on me?

ELLA

I forbid you from leaving the house, I go up to check on you, and your room is empty. What did you expect me to do?

ARIA

Oh, I don't know, how about call me first?

ELLA

You went out of your way to do exactly what I told you not to.

Aria takes a moment - and a breath - to compose herself. She steps closer to Ella. When she speaks, her voice is quieter, but shaking with anger.

ARIA

For almost a month, I had no control over my life. All I wanted to do was take it back.

ELLA

Aria, I understand that. But this was not the way to do that.

ARIA

Oh, and sending the police after me was your perfect solution?

At last, Ella loses her temper.

ELLA

And it's a good thing I did, isn't it? Look what happened! Until that monster is behind bars, you don't have control over your life. He does.

Aria steps back as if she's been slapped. Unable to think of a response, she turns and stalks away. Spencer, Hanna, and Emily slowly approach behind Ella and look after her.

EXT. FIELDS HOUSE - FRONT PORCH - EVENING

Paige sits on the steps leading to the porch. She looks up as Emily and Pam cross the yard toward her. Pam seems unfazed by Paige's presence.

PAM

Hi, Paige. I'll give you girls a minute.

PAIGE

Thank you.

Pam EXITS into the house, and Emily watches her go, obviously confused. She gives Paige a questioning look.

EMILY

I thought she'd be more surprised to see you.

PAIGE

I called her, actually. Before I bought my plane ticket. You weren't answering my calls, and I wanted to make sure it was okay for me to come.

Emily sits down beside her on the steps. She SIGHS.

EMILY

Nothing's really okay. Not anymore.

PAIGE

What happened at the police station?

EMILY

"A" went after Spencer and Aria when they went digging for information. He's getting bold. Bolder than he was before he kidnapped us.

Paige puts a hand on Emily's arm.

PAIGE

I graduated last quarter. I can stay as long as you need me to.

EMILY

You don't have to do that.

PAIGE

I know.

A beat passes, then Paige leans forward and kisses Emily. Emily lets her for only a moment before her eyes spring open and she scoots backward, nearly falling off of the step.

EMILY

Paige.

Paige touches her mouth. She's embarrassed and horrified.

PAIGE

I'm sorry. I shouldn't have done that, not now.

For a moment, Emily looks like she wants to let it go, but something stops her.

EMILY

I should probably get inside. I'm sure my mom wants to talk.

She gets to her feet. Paige scrambles up as well.

PAIGE

I really am sorry, Emily.

Emily nearly responds, then just nods and EXITS through the front door. Paige flinches when she door shuts.

End of Act Four.

ACT FIVE

INT. CALEB'S APARTMENT - EVENING

Caleb and Hanna sit together on the couch. Hanna's head rests on Caleb's shoulder. His computer looms conspicuously behind them.

HANNA

How long do you think it'll take?

CALEB

Until tomorrow, probably. But as soon as the scan finishes, I should be able to access the hacker's coordinates.

HANNA

And then Charles will be the one waving goodbye from the prison van.

CALEB

I think you're missing a few steps in there, but yeah. That's the plan.

Seeming at peace for the first time, Hanna closes her eyes and settles against his shoulder. Caleb shoots a look back at the laptop set-up on the desk. The scan reads 30% complete.

INT. MONTGOMERY HOUSE - ARIA'S BEDROOM - NIGHT

Aria curls up in the chair at her desk, a mug of tea in one hand and a journal in the other. As she's opening it, her eyes fall on a framed photo of the Montgomery family, before Alison went missing, before "A."

Aria reaches for it. She looks down at the smiling faces of herself and her family as she runs her finger along the edge of the frame.

INT. HASTINGS HOUSE - SPENCER'S BEDROOM - NIGHT

Emily sits on the edge of Spencer's bed. She looks horrified and shaken as Spencer paces back and forth in front of her.

EMILY

I can't believe it. Wren told those people about Ali?

SPENCER

He's her older brother. And he told his friends all about how she made her family's life hell.

EMILY

So she knew about Charles the whole time. And she lied to us. About everything.

SPENCER

Not necessarily. That girl Ainsley said that Wren hadn't been in contact with her for a long time. Maybe she didn't even remember him.

EMILY

Then how would he know so much about her?

Spencer gives her a look.

SPENCER

The same way that "A" has always known so much about all of us.

EMILY

So what, you think Charles faked his death and took on a whole new identity? As Wren?

SPENCER

Yeah. And I think it all started after he got out of Radley.

EMILY

Do you think we should tell the police?

Spencer sits down on the bed beside her.

SPENCER

Tell them what? The only proof we've got is a picture of a fake diploma. The cops won't do anything unless we find actual proof that he's the one who kidnapped us.

EMILY

So we need to confront Wren ourselves.

She and Spencer share a resolved look, filled with the hope of finally getting close to answers.

INT. MONTGOMERY HOUSE - LIVING ROOM - NIGHT

Ella sits on the sofa, reading a book. Aria appears in the doorway. Her arms are crossed, and she enters the room sheepishly.

ARIA

Mom?

Ella closes the book and looks back at her. Her expression is unreadable.

ELLA

I thought you were in bed already.

ARIA

Couldn't sleep.

She moves further into the room and sinks down onto the chair beside Ella.

ARIA (CONT'D)

I'm sorry for what happened today. All of it.

Ella takes a deep breath. She looks exhausted.

ELLA

When I opened your bedroom door and saw that you weren't there, I knew that you'd gone to that event with Spencer. I knew that, but I still couldn't help but think...

She trails off, but Aria knows what she means. The realization of how this has affected her mother finally starts to sink in.

ARIA

That I'd been kidnapped again?

ELLA

I know that what your father and I went through during those three weeks isn't comparable to what you girls did. And I would never pretend that it was. But that doesn't mean I don't have nightmares just like you do.

Tears spring to Aria's eyes. She moves to sit beside Ella on the couch.

ARIA

We talked a lot when we were down there about what you were all going through. I guess I need to remember that more often.

She wraps her arms around her mother in a hug, which Ella returns. Both of them are crying.

INT. EXT. HASTINGS HOUSE - DRIVEWAY - NIGHT

Emily walks down the driveway toward her car, parked along the street. As she approaches, she notices a piece of paper stuck under the windshield wipers.

She looks around. The street is dark and silent, almost jarringly peaceful. Emily reaches for the paper, pull is out from the windshield, and unfolds it.

CLOSE-UP on the note, scribbling hastily in pen: _"I'm ready to talk. -Sara"_

Emily looks in shock down at the note, then shoots another paranoid look around the street.

INT. CALEB'S APARTMENT - NIGHT

Hanna is asleep on the couch, under a blanket. Caleb sits at the computer, drinking coffee and watching the screen. The progress bar is up to 80%.

A soft KNOCK on the door startles him. Hesitantly, he gets up and pulls the door open.

Spencer and Toby stand on the other side.

SPENCER

We were hoping you'd still be up.

CALEB

What are you guys doing here?

TOBY

Can we come in?

Caleb stands aside so they can enter, but shoots a glance over at Hanna. Voices drop to nearly a whisper -

SPENCER

We need to talk. Hanna told me how you're trying to help her.

CALEB

Yeah, what about it?

TOBY

You're trying to keep Hanna from getting in trouble for hacking the College Board by...hacking the College Board?

CALEB

Hanna didn't do anything. It was "A."

SPENCER

Yeah, we know that.

She realizes she was speaking too loudly and lowers her voice again.

SPENCER (CONT'D)

But how is breaking the law going to help?

CALEB

Because once this scan finishes, it's going to tell me the coordinates of where the original hack came from. We find that location, odds are we'll find "A."

SPENCER

We might have already found "A."

Caleb gives her a surprised look, but she continues before he can change the subject.

SPENCER (CONT'D)

We think Wren is Charles. But I'll explain everything tomorrow, Hanna needs to hear this, too. The point is, we don't need you to do this just to track down "A."

There's a long silence. Caleb seems to consider this.

CALEB

That's not the only reason why I hacked into the site.

TOBY

What do you mean?

CALEB

I told Hanna the cops won't find out about my hack because I'm not going to make any changes.

TOBY

You know that's not how it works.

CALEB

Yeah, I do.

Spencer and Toby are growing progressively more confused.

SPENCER

Then why would you risk Tanner finding out about this?

CALEB

Because if and when she does, it'll be traced back to me. Not Hanna. And if they find out I was the person behind this second hack, they're more likely to believe that I did it the first time, too.

The implications of his words begin to sink in.

TOBY

Wait.

SPENCER

You're doing this so you'll get caught?

CALEB

Yeah. Because if I go down for this, it means that Hanna won't.

Spencer and Toby are horrified by this plan.

TOBY

No. No way. You can't do this to yourself.

Caleb gives them both a hard, determined look. It's clear he's not going to back down.

CALEB

I'd do anything if it means Hanna won't be locked up again.

He looks once more over at Hanna, asleep on the couch. Spencer and Toby look at each other, astounded. A quiet PING sounds from the computer, and Caleb smiles.

CALEB (CONT'D)

Anyway, it's too late.

The three of them turn to the laptop just in time to see the progress bar move from 99% to complete.

INT. "A'S" LAIR - NIGHT

_Scene is shot from "A's" POV._

CLOSE-UP on "A's" laptop, which shows the same screen as Caleb's. The progress bar reads 100%.

A hand covered by a black leather glove reaches for a glass of vodka soda on the desk beside the computer. "A" takes a drink and sets the now-empty glass back down.

The view shifts toward a wooden dollhouse, filled with dolls of the PLLs, perched on a table. "A" walks over to it. The doll representing Hanna has fallen onto its side. With a careful hand, "A" reaches out and sits it upright again.

CUT TO BLACK.

End of Act Five.


End file.
